NGV Annual Report 2007-08 – Part 2 (including financial details)

Financial and
Other Statutory Reports

66 67

Financial statements for financial year ended 30 June 2008 Operating statement for financial year ended 30 June 2008
In our opinion,
(a) the attached Operating
Statement, Balance Sheet,
Statement of Changes in Equity,
Cashflow Statement and Notes to
the financial statements present
fairly the financial transactions
for the year ended 30 June
2008 and the financial position
professional requirements,
Total revenue from ordinary activities 73,469 72,576
of the Council of Trustees of the
68 69
National Gallery of Victoria as
at 30 June 2008,
(b) the accounts have been
maintained in accordance with
the National Gallery of Victoria
Act 1966 and regulations
made thereto,
(c) the financial statements have
been prepared in accordance
with Standing Direction 4.2 of the
Financial Management Act 1994,
applicable Financial Reporting
Directions, Australian Accounting
Standards and other mandatory
(d) at the date of signing these
statements the Council of Trustees
is not aware of any circumstances
that would render any particulars
included in these statements
misleading or inaccurate.
OPERATING STATEMENT
Revenue from ordinary activities
Notes
2008
$ ’000s
2007
$ ’000s
Income from Government 2.1 44,442 42,448
Resources received free of charge 2.2 400 400
Other income 2.3 28,627 29,728
Expenses from ordinary activities
Employee benefits 3 19,624 18,393
Depreciation 10 10,168 9,758
Use of premises provided free of charge 1( e) 400 400
Capital asset charge 1(i) 3,954 3,858
Supplies and services 4 36,238 32,580
Other expenses from ordinary activities 5 250 76
Total expenses from ordinary activities 70,634 65,065
Allan Myers
President
28 August 2008
Gerard Vaughan
Director
28 August 2008
Elizabeth Grainger FCA
Chief Financial Officer
28 August 2008
Net result for the reporting period 2,835 7,511
The above operating statement should be read in conjunction with the accompanying notes.

Balance sheet as at 30 June 2008 Statement of changes in equity for financial year ended 30 June 2008
BALANCE SHEET
Current assets
Notes
2008
$ ’000s
2007
$ ’000s
Cash and cash equivalents 22 7,850 2,008
Receivables 6 1,290 2,713
Inventories 7 1,763 1,484
Prepayments and other assets 1,742 3,732
Other financial assets 8 8,433 8,453
70 Total current assets 21,078 18,390
Net result for the period 2,835 7,511 71
Non-current assets
Other financial assets 8 28,176 34,157
Cultural assets 9 3,267,710 2,489,495
Property, plant and equipment 10 227,844 236,588
Total non-current assets 3,523,730 2,760,240
TOTAL ASSETS 3,544,808 2,778,630
Notes
2008
$ ’000s
2007
$ ’000s
Total equity at beginning of financial year 2,762,166 2,721,111
Net increase/(decrease) in asset revaluation reserve 14.2 – 37,488
Net increase/(decrease) in cultural assets revaluation reserve 14.2 769,532 (5,006)
Net increase/(decrease) in available-for-sale revaluation reserve 14.2 (2,754) 1,062
Net income recognised directly in equity 766,778 33,544
Total recognised income and expense for the period 769,613 41,055
Total equity at end of financial year 3,531,779 2,762,166
The above statement of changes in equity should be read in conjunction with the accompanying notes.
Cashflow statement for financial year ended 30 June 2008
Current liabilities
Payables 11 8,807 11,410
Other current liabilities 12 875 1,808
Provisions 13 3,123 3,047
Total current liabilities 12,805 16,265
Non-current liabilities
Provisions 13 224 199
Total non-current liabilities 224 199
CASHFLOWS FROM OPERATING ACTIVITIES
Notes
2008
$ ’000s
2007
$ ’000s
Receipts from Government (inclusive GST) 44,442 42,448
Less capital asset charge (3,954) (3,858)
Receipts from other entities (inclusive GST) 29,397 23,610
Goods and Services Tax recovered from the Australian Tax Office 2,366 2,498
Payments to suppliers and employees (inclusive GST) (60,619) (61,539)
11,632 3,160
TOTAL LIABILITIES 13,029 16,464
NET ASSETS 3,531,779 2,762,166
Interest income on bank deposits 152 275
Net cash inflow from operating activities 23 11,784 3,435
EQUITY
Contributed capital 14.1 159,345 159,345
Reserves 14.2 3,398,744 2,619,336
Accumulated deficit 14.3 (26,310) (16,515)
TOTAL EQUITY 3,531,779 2,762,166
CASHFLOWS FROM INVESTING ACTIVITIES
Transfers from managed funds 1,500 1,800
Proceeds from the sale of deaccessioned cultural assets 366 –
Payments for cultural assets (5,914) (10,466)
Payments for property, plant and equipment 10 (1,019) (1,570)
Net cash outflow from investing activities (5,067) (10,236)
Contingent liabilities and contingent assets 19
Commitments for expenditure 20
The above balance sheet should be read in conjunction with the accompanying notes.
CASHFLOWS USED IN FINANCING ACTIVITIES
Repayments of Government advance (875) (1,750)
Repayment of finance lease – (58)
Net cashflows used in financing activities (875) (1,808)
NET CASHFLOWS FOR PERIOD 5,842 (8,609)
CASH AT THE BEGINNING OF THE FINANCIAL YEAR 2,008 10,618
CASH AT THE END OF THE FINANCIAL YEAR 22 7,850 2,008
The above cashflow statement should be read in conjunction with the accompanying notes.

Notes to and forming part
of the accounts
1. Summary of significant accounting policies
Trustees and is recorded at fair value at the conditions so that there is minimal physical financial assets represent funds invested under
72 73
time of the donation. Fair value is determined deterioration. They are expected to have the National Gallery of Victoria’s Endowed
Reporting entity
The financial report covers the Council of
Trustees of the National Gallery of Victoria
(“the National Gallery of Victoria”) which is
a statutory authority established under the
National Gallery of Victoria Act 1966, as
amended, of the State of Victoria.
Its principal address is:
180 St Kilda Road
Melbourne Victoria 3004
The National Gallery of Victoria is an
administrative agency acting on behalf of the
Crown and this financial report includes all its
controlled activities.
a. Statement of compliance
This general purpose financial report has
been prepared on an accrual basis in
accordance with the Financial Management
Act 1994, applicable Australian Accounting
Standards, Interpretations and other mandatory
professional requirements. Accounting
Standards include Australian equivalents of
International Financial Standards (‘A – IFRS’).
The financial report was authorised for issue by
the Council of Trustees on 28 August 2008.
b. Basis of preparation
The financial report is prepared in accordance
with the historical cost basis except for the
revaluation of certain non-current assets and
financial instruments. Cost is based on the
fair value of the consideration given in
exchange for assets.
Accounting policies are selected and applied
in a manner which ensures that the resulting
financial information satisfies the concepts of
relevance and reliability, thereby ensuring that
the substance of the underlying transactions
or other events is reported.
The accounting policies set out below have
been applied in preparing the financial
statements for the year ended 30 June 2008
and the comparative information presented for
the year ended 30 June 2007.
c. Goods and services tax (GST)
Revenues, expenses and assets are recognised
net of GST except where the amount of the
GST incurred is not recoverable, in which case
it is recognised as part of the cost of acquisition
of an asset or part of an item of expense.
The net amount of GST recoverable from, or
payable to, the Australian Taxation Office is
included as part of receivables or payables
in the Balance Sheet. The GST component
of a receipt or payment is recognised on a
gross basis in the Cashflow Statement and
is classified as an operating cashflow.
d. Income recognition
In accordance with AASB 118 Revenue,
revenues are measured at the fair value of
the consideration or contribution received
or receivable.
Sale of goods and disposal of other assets:
Revenue arising from the sale of goods or the
disposal of other assets is recognised when the
following conditions have been satisfied:
• the significant risks and rewards of
ownership of the goods have transferred
to the buyer;
• the National Gallery of Victoria retains
neither continuing managerial involvement
to the degree usually associated with
ownership nor effective control over
the goods sold;
• the amount of revenue can be
reliably measured;
• it is probable that the economic benefits
associated with the transaction will flow to
the National Gallery of Victoria; and
• the costs incurred or to be incurred
in respect of the transaction can be
measured reliably.
Revenue for services
Revenue arising from a contract for the
provision of services is recognised by reference
to the stage of completion of the contract when
the following conditions have been satisfied:
• the amount of the revenue, stage of
completion and transaction costs incurred
can be reliably measured; and
• it is probable that the economic benefits
associated with the transaction will flow to
the National Gallery of Victoria.
Sponsorship income
Revenue from sponsorship contracts, both
cash and contra, is recognised as revenue over
the period during which the contractual and
servicing obligations of the National Gallery
of Victoria are discharged.
The National Gallery of Victoria enters
into contra sponsorship contracts to receive
sponsorship in various forms other than cash
in exchange for promoting the provider as a
corporate supporter. These contracts are treated
as contracts for the provision of services.
Contribution of assets
Revenue arising from the contribution of assets
is recognised when the following conditions
have been satisfied:
• control of the contribution or right to receive
the contribution exists; and
• it is probable that the economic benefits
comprising the contribution will be realised.
State Government income
State Government appropriation and other
State grants are recognised on receipt in
accordance with AASB 118 Revenue.
Investment income
Investment income is generally recognised when
receivable. Dividends are recognised when the
right to receive payment is established.
Memberships
Memberships are recognised when received
and over the period of the membership.
Gifts
Bequests and donations are recognised on
receipt. Donated cultural assets are recognised
when the gift is accepted by the Council of
by either an average of independent valuations
for works donated under the Cultural Gifts
Program, or by a curatorial assessment by
the National Gallery of Victoria.
e. Resources provided and received free of
charge or for nominal consideration
Contributions of resources and resources
provided free of charge or for nominal
consideration are recognised at their fair value.
Contributions in the form of services are only
recognised when a fair value can be reliably
determined and the services would have
been purchased if not donated.
f. Employee benefits
Employee benefits include all costs related
to employment including wages and salaries
leave entitlements, redundancy payments
and superannuation contributions.
These are recognised when incurred.
g. Superannuation
The amount charged to the Operating
Statement in respect of superannuation
represents the contribution made by
the National Gallery of Victoria to the
superannuation funds of employees.
h. Depreciation
Property, Plant and Equipment
Depreciation is provided on property, plant
and equipment, including freehold buildings but
excluding land. Depreciation is calculated on
a straight-line basis so as to write off the net
cost of each item of property (excluding land)
over its expected useful life to the National
Gallery of Victoria. Estimates of the remaining
useful lives for all assets are reviewed at
least annually.
Depreciation is treated as an operating expense
and recognised in the Operating Statement
using the following rates (both 2007–2008
and 2006–2007):
Buildings 1.00%
Building fit-out 6.67–7.50%
Leasehold improvements 9.76%
Plant and equipment 3.33–33.33%
Cultural assets
Cultural assets are kept under special
indeterminate useful lives to the National
Gallery of Victoria. No amount for depreciation
has, therefore, been recognised in respect of
cultural assets, as their service potential to
the National Gallery of Victoria has not, in any
material sense, been consumed during the
reporting period.
i. Capital asset charge
The capital asset charge is imposed by the
Department of Treasury and Finance and
represents the opportunity cost of capital
invested in the non-current physical assets
used in the provision of outputs. The charge
is calculated on the carrying amount of noncurrent
physical assets (excluding heritage
and cultural assets).
j. Supplies and services
Supplies and services represents the day to day
operating costs, including maintenance, security
and exhibition related costs, incurred in the normal
operations of the National Gallery of Victoria.
k. Cash and cash equivalents
Cash and cash equivalents comprise cash on
hand, cash at bank and bank deposits on call.
l. Receivables
Receivables consist predominantly of debtors
in relation to goods and services and GST input
tax credit recoverable.
A provision for doubtful receivables is made
when there is objective evidence that the debts
may not be collected. Bad debts are written off
when they are known to be uncollectable.
m. Inventories
Inventories include goods held for sale and are
valued at the lower of cost or net realisable
value. Full provision is made for slow moving
and obsolete stock. Net realisable value
represents the estimated selling price less all
estimated costs of completion and costs to be
incurred in marketing, selling and distribution.
n. Financial assets
Financial assets held are classified as being
available for sale and are stated at fair value.
Gains and losses arising from the changes in
fair value are recognised directly in equity until
the investment is disposed of or is determined
to be impaired, at which time the cumulative
gain or loss previously recognised in equity is
included in the net result.
Current financial assets represent funds
invested under the National Gallery of Victoria’s
Medium Term Investment Strategy. Non-current
Funds Investment Strategy. The majority of
these funds have been donated or bequeathed
by the general public to the National Gallery of
Victoria and are directed towards the purchase
of works of art, or other purpose, as specified
by the original donor.
o. Non-current assets
Carrying value of non-current assets
Land and buildings are measured initially at
cost, and subsequently at fair value.
Plant and equipment are measured at cost less
accumulated depreciation and impairment.
Purchased cultural assets are carried at cost
and subsequently at fair value. Donated or
bequeathed cultural assets are initially carried
at cost and subsequently at fair value.
Revaluations of non-current assets
Non-current assets measured at fair value
are revalued in accordance with FRD 103C
Non- Current Physical Assets. This revaluation
process normally occurs every five years,
based upon the asset’s Government
Purpose Classification.
Revaluation increments or decrements arise
from differences between carrying amount and
fair value. Revaluation increments are credited
directly to the asset revaluation reserve, except
that, to the extent that an increment reverses a
revaluation decrement in respect of that class
of asset previously recognised as an expense
in the net result, the increment is recognised
immediately as revenue in the net result.
Revaluation decrements are recognised
immediately as expenses in the net result,
except that, to the extent that a credit balance
exists in the asset revaluation reserve in
respect of the same class of assets, they are
debited directly to the asset revaluation reserve.

Impairment of assets
All assets are assessed annually for indications
of impairment (i.e. as to whether their carrying
value exceeds their recoverable amount).
If there is an indication of impairment, the
assets concerned are tested to determine
whether their carrying value exceeds their
recoverable amount. Where the asset’s
carrying value exceeds its recoverable amount,
the difference is written off by a charge
to the Operating Statement except to the
extent that the write-down can be debited
to an asset revaluation reserve applicable and other sundry liabilities. Payables are carried (iii) Employee on–costs
where indicated otherwise.
rate existing at reporting date.
standards early.
74 75
to the specific asset.
at amortised cost and represent liabilities for Related employee on-costs including payroll
The recoverable amount for assets is measured
at the higher of the net present value of future
cashflows expected to be obtained from the
asset and fair value, less costs to sell.
Revaluation increments and decrements are
offset against one another within a class of
non-current assets.
Restrictive nature of cultural assets
Cultural assets comprise works of art in the
State Collection and other works of art and
cultural assets. Control of the State Collection
is vested in the Council of Trustees of the
National Gallery of Victoria by virtue of the
National Gallery of Victoria Act 1966, as
amended. Additions to the State Collection
may take the form of either a purchase by the
National Gallery of Victoria or a donation
from a third party.
All cultural assets are held for exhibition,
education, research and historical interest.
Such assets are deemed worthy of preservation
because of the social rather than financial
benefits they provide to the community. The
nature of these assets means that there are
certain limitations and restrictions imposed on
their use and/or disposal.
p. Leased assets
A distinction is made between finance leases
which effectively transfer from the lessor
to the lessee substantially all the risks and
benefits incidental to ownership. Finance
leases are capitalised. An asset and liability are
established at the present value of minimum
lease payments. Lease payments are allocated
between the principal component of the lease
liability and the interest expense.
The leased asset is amortised on a straight-line
basis over the term of the lease, or where it is
likely that the National Gallery of Victoria will
obtain ownership of the asset, the expected
useful life of the asset to the National Gallery of
Victoria. Any leased assets that would be held
at the reporting date would be amortised over
the period of the underlying lease or a shorter
period if the expected useful life were less.
Operating lease payments are charged to the
Operating Statement in the periods in which
they are incurred, as this represents the pattern
of benefits derived from the leased assets.
q. Payables
Payables consist predominantly of creditors
goods and services provided to the National
Gallery of Victoria prior to the end of financial
year that are unpaid, and arise when the
National Gallery of Victoria becomes obliged
to make future payments in respect of the
purchase of these goods and services.
r. Provisions
(i) Wages, salaries, and annual leave
Liabilities for wages and salaries including
non-monetary benefits and annual leave are:
(a) disclosed in accordance with AASB 101,
Presentation of Financial Statements, as
a current liability even where the National
Gallery of Victoria does not expect to settle
the liability within 12 months as it will not
have the unconditional right to defer the
settlement of the entitlement should an
employee take leave within 12 months;
(b) Measured at:
• Nominal value under AASB 119, Employee
Benefits, where a component of this current
liability is expected to fall due within
12 months after the end of the period; and
• Present value under AASB 119, Employee
Benefits, where the entity does not expect
to settle a component of this current
liability within 12 months.
(ii) Long service leave
Liability for long service leave is recognised in
the provision for employee benefits:
• Unconditional long service leave
(representing 7 or more years of
continuous service) is disclosed
in accordance with AASB 101, Presentation
of Financial Statements, as a current liability
even when it is not expected that settlement
will occur within 12 months because
there is no unconditional right to defer the
settlement of this entitlement should an
employee take leave within 12 months.
• Where the agency does not expect to settle
within 12 months amounts are measured
at present value under AASB 119, Employee
Benefits, and nominal value for the component
that is expected to settle within 12 months.
• long service leave representing less than 7
years of continuous service is disclosed as
a non-current liability as there is an
unconditional right to defer the settlement
of the entitlement until the employee has
completed the requisite years of service.
This is measured at present value.
tax and workers compensation premiums have
been included in the calculation of liabilities for
employee benefits.
s. Contributed capital
Consistent with AASB Interpretation 1038
Contributions by Owners Made to Wholly-
Owned Public Sector Entities, appropriations for
additions to net assets have been designated
as contributed capital. Other transfers
that are in the nature of contributions or
distributions have also been designated as
contributed capital.
t. Reserves
(i) Contributed capital
Represents transfers of capital to the National
Gallery of Victoria by the State Government of
Victoria to fund its infrastructure.
(ii) Collection reserve
Represents accumulated revenue received
from donations, bequests, investment income
and similar sources which is dedicated to the
acquisition of cultural assets. This reserve also
includes the value of gifts in kind. Amounts
in respect of years prior to the year ended 30
June 2001 are approximations only.
(iii) Infrastructure reserve
Represents accumulated revenue received
from donations, bequests, grants, investment
income and similar sources which is dedicated
to the purchase of non-current fixed assets and
infrastructure. This reserve was established as
at 30 June 2005 and includes revenue received
since 1 July 2001.
(iv) Asset revaluation reserve
Represents increments arising from the
periodic revaluation of non-current assets,
including cultural assets.
(v) Available-for-sale revaluation reserve
Represents increments arising from the
revaluation of investments.
u. Contingent assets and
contingent liabilities
The National Gallery of Victoria discloses
both contingent assets and contingent
liabilities when they arise by way of note. All
contingencies are discounted to their present
value using the pre-tax rate that reflects current
market assessments of the time value of money
and risks specific to the contingencies.
v. Rounding of amounts
Amounts shown in the financial statements are
rounded to the nearest thousand dollars except
w. Comparatives
Some comparative figures have been changed
to ensure consistency of the previous year’s
presentation with that of the current year.
x. Commitments
Commitments include those operating,
capital and other outsourcing commitments
arising from non-cancellable contractual
or statutory sources and are disclosed at
their nominal value.
y. Foreign currency
All foreign currency transactions during the
financial year are brought to account using
the exchange rate in effect at the date of
the transaction. Foreign monetary items at
reporting date are translated at the exchange
Exchange differences are recognised in the
operating statement in the period in which
they arise.
2. Revenue from ordinary activities
2 REVENUE FROM ORDINARY ACTIVITIES Notes
2.1 Income from Government 1(d)
z. Functional and presentation currency
The functional currency of the National
Gallery of Victoria is the Australian Dollar,
which has also been identified as the
presentation currency.
aa. New accounting standards and
interpretations
Certain new accounting standards and
interpretations have been published that are
not mandatory for the 30 June 2008 reporting
period. The National Gallery of Victoria has
not, and does not intend to, adopt these
2008
$ ’000s
2007
$ ’000s
State — recurrent 39,127 37,229
State — depreciation equivalent revenue 221 64
State — other 738 891
State — capital asset charge 1(i) 3,954 3,858
State — Department of Education and Training 402 406
2.2 Resources received free of charge
Premises at the Public Records Office Victoria occupied
without financial consideration
1(e)
44,442 42,448
400 400
400 400

2. REVENUE FROM ORDINARY ACTIVITIES (CONT’D)
4. Supplies and services
2 REVENUE FROM ORDINARY ACTIVITIES (CONT’D) Notes
2.3 Other Income
Operating activities
2008
$ ’000s
2007
$ ’000s
Gross trading sales 4,388 5,188
Less: cost of goods sold (2,369) (2,993)
Gross trading margin 2,019 2,195
76 Exhibition and program admissions 4,961 4,274
Other operating expenses 2,220 2,169 77
Cash sponsorship 1(d) 1,709 1,060
Contra sponsorship 1(d) 1,478 903
Membership 1,695 1,390
Visitor and functions catering 1,707 1,502
Donations for operating purposes 387 382
Other revenue 1,420 1,709
Fundraising activities
15,376 13,415
Donations and bequests 11,216 5,917
Memberships 125 309
Donated cultural assets 3,302 4,493
Proceeds on sale of deaccessioned cultural assets 366 -
Investing activities
15,009 10,719
Interest — bank deposits 152 275
Dividends and interest — managed funds 1,816 3,357
Net realised gain / (loss) on distributions (107) 1,998
Unrealised market value appreciation / (depreciation) (3,527) 4
Interest expense (92) (40)
3. Employee benefits
3. EMPLOYEE BENEFITS Notes
(1,758) 5,594
28,627 29,728
2008
$ ’000s
2007
$ ’000s
Salaries and associated costs 16,473 15,420
Superannuation contribution 17 1,474 1,174
Provision for annual leave 1,290 1,583
Provision for long service leave 387 215
1(f) 19,624 18,393
4. SUPPLIES AND SERVICES Notes
2008
$ ’000s
2007
$ ’000s
Building management (including security) 10,880 10,373
Building and equipment services 6,866 6,819
Promotion and marketing 6,056 4,748
Freight and materials 4,614 2,742
Office supplies, insurance and communications 3,265 3,392
Rent 2,337 2,336
5. Other expenses from ordinary activities Notes
1(j) 36,238 32,580
5. Other expenses from ordinary activities
2008
$ ’000s
2007
$ ’000s
Book value of deaccessioned cultural assets sold 250 -
Assets written down to recoverable amount 10 - 76
6. Receivables
6. Receivables Notes
250 76
2008
$ ’000s
2007
$ ’000s
Trade debtors 704 1,786
Less: provision for doubtful receivables (124) (223)
1(l) 580 1,563
GST receivable 487 487
Other debtors 223 663
Movement in the provision for doubtful receivables
16 1,290 2,713
Balance at the beginning of the year 223 150
Amounts written off during the year (50) -
Increase / (decrease) in allowance recognised (49) 73
Balance at end of the year 124 223

7. Inventories
9. Cultural assets
7. INVENTORIES Notes
2008
$ ’000s
2007
$ ’000s
Goods held for resale 2,903 2,535
Less: provision for slow-moving stock (1,140) (1,051)
Movement in the provision for slow-moving stock
1(m) 1,763 1,484
Balance at the beginning of the year 1,051 1,051
Amounts written off during the year (76) -
9. CULTURAL ASSETS Notes
78 Increase / (decrease) in allowance recognised 165 -
79
Balance at end of the year 1,140 1,051
8. Other financial assets
8. OTHER FINANCIAL ASSETS Notes
Investments at market value
Current assets
2008
$ ’000s
2007
$ ’000s
Managed funds 1(n) 8,433 8,453
Non-current assets
Managed funds 1(n) 28,176 34,157
Investments at market value 16 36,609 42,609
Investments at cost 40,136 39,550
2008
$ ’000s
2007
$ ’000s
Works of art at cost – 25,364
Library works at cost 144 84
Library valuation: 2006 2,739 2,739
Works of art valuation: 2008 1(o) 3,264,827 –
Works of art valuation: 2005 – 2,461,308
2008
Library
at cost
$ '000s
Library
valuation
$ '000s
Works of art
at cost
$ '000s
3,267,710 2,489,495
Works of art
valuation
$ '000s
Total
cultural assets
$ '000s
Carrying amount at start of year 84 2,739 25,364 2,461,308 2,489,495
Additions 60 – 8,623 – 8,683
Transfer of assets – (33,987) 33,987 –
Revaluation increment – – 769,532 769,532
Carrying amount at end of year 144 2,739 – 3,264,827 3,267,710
Revaluation of the National Gallery of Victoria’s library collection was
performed by Sainsbury’s Books Pty Ltd, a member of the Antiquarian
Booksellers Association, on a fair value basis. The valuation was
completed as at 30 June 2006.
2007
Library
at cost
$ '000s
Revaluation of the State Collection of works of art was performed on
a fair value basis by Simon Storey Valuers as at 30 June 2008 and
resulted in a total valuation of $3,264,827,000. Mr Simon Storey,
a director of Simon Storey Valuers is an approved valuer under the
Commonwealth of Australia Taxation Incentives for the Arts Scheme
and a member of the Auctioneers and Valuers Association of Australia.
Library
valuation
$ '000s
Works of art
at cost
$ '000s
Works of art
valuation
$ '000s
Total
cultural assets
$ '000s
Carrying amount at start of year – 2,739 12,207 2,466,564 2,481,510
Additions 84 – 13,157 – 13,241
Deaccessions – – – (250) (250)
Impairments – – – (5,006) (5,006)
Carrying amount at end of year 84 2,739 25,364 2,461,308 2,489,495
Revaluation of the National Gallery of Victoria’s library collection was
performed by Sainsbury’s Books Pty Ltd, a member of the Antiquarian
Booksellers Association on a fair value basis. The valuation was
completed as at 30 June 2006.
Revaluation of the State Collection of works of art was performed on a
fair value basis by Simon Storey Valuers as at 30 June 2005 and resulted
in a total valuation of $2,468,760,000. Mr Simon Storey, a director of
Simon Storey Valuers is an approved valuer under the Commonwealth of
Australia Taxation Incentives for the Arts Scheme and a member of the
Auctioneers and Valuers Association of Australia.

10. Property, plant and equipment
10. Property, plant and equipment Notes
Land
2008
$ ’000s
2007
$ ’000s
At valuation (2007) 1(o) 43,250 43,250
10 Property, plant and equipment (CONT’D)
2008
Land
$ ’000s
Buildings
$ ’000s
Building
fit-out
$ ’000s
Leasehold
improvements
$ ’000s
Plant and
equipment
$ ’000s
Total
$ ’000s
At start of year 43,250 92,153 41,372 7,519 52,294 236,588
Additions – – – – 1,424 1,424
Depreciation expense – (967) (3,651) (930) (4,620) (10,168)
At end of year 43,250 91,186 37,721 6,589 49,098 227,844
Buildings
At valuation (2007) 1(o) 92,153 92,153
Less: accumulated depreciation (967) –
Building Leasehold Plant and
Land Buildings
Total
80 91,186 92,153
2007
fit-out improvements equipment
$ ’000s
$ ’000s
$ ’000s 81
$ ’000s
$ ’000s
$ ’000s
Total land and buildings 134,436 135,403
At start of year 23,807 74,876 44,897 8,523 55,312 207,415
Building fit-out
At cost 54,294 54,294
Less: accumulated depreciation (16,573) (12,922)
Leasehold improvements
37,721 41,372
At cost 13,614 13,614
Less: accumulated depreciation (7,025) (6,095)
Plant and equipment
General plant and equipment
6,589 7,519
At cost 74,079 72,906
Less: accumulated depreciation (24,981) (20,620)
Motor vehicle under finance lease
49,098 52,286
At cost 173 173
Less: accumulated amortisation (173) (164)
– 8
Total plant and equipment 49,089 52,294
Total property, plant and equipment 1(o) 227,844 236,588
Profit / (loss) on disposal of non-current assets
Proceeds on sale of non-current assets – –
Less: carrying amount – (51)
Depreciation charge for the year
– (51)
Buildings 967 768
Building fit-out 3,651 3,642
Leasehold improvements 930 1,033
Plant and equipment 4,620 4,315
1(h) 10,168 9,758
Revaluation of land and buildings to fair value was performed by the Valuer-General Victoria as at 30 June 2007.
Additions – – 117 29 1,424 1,570
Disposals – – – – (51) (51)
Asset write downs – – – – (76) (76)
Depreciation expense – (768) (3,642) (1,033) (4,315) (9,758)
Revaluation increment 19,443 18,045 – – – 37,488
At end of year 43,250 92,153 41,372 7,519 52,294 236,588
Revaluation of land and buildings to fair value was performed by the Valuer-General Victoria as at 30 June 2007.
11. Payables
11. PAYABLEs Notes
2008
$ ’000s
2007
$ ’000s
Trade creditors 1(q) 1,873 3,279
Other creditors and accruals 5,990 6,163
Income in advance 944 1,968
12. Other liabilities
12. Other liabilities Notes
Current
16 8,807 11,410
2008
$ ’000s
2007
$ ’000s
Advance from State Government 875 1,750
Finance lease 20 – 58
875 1,808

13. Provisions
13. PROVISIONS Notes
Current employee benefits
2008
$ ’000s
2007
$ ’000s
Annual leave entitlements 1,483 1,588
Unconditional long service leave entitlements 1,640 1,459
3,123 3,047
Current employee benefits that:
Opening balance 2,754 1,692
82 Are expected to be utilised within 12 months after the end of the reporting period 1,694 1,762
Net increment / (decrement) during the year (2,754) 1,062
83
Are expected to be utilised more than 12 months after the end of the reporting period 1,429 1,285
Closing balance 1(t) (v) – 2,754
Non-current employee benefits
3,123 3,047
Conditional long service leave entitlements 224 199
224 199
Total employee benefits 1(r) 3,347 3,246
14. Equity and movements in equity
14. Equity and movements in equity (CONT’D) Notes
Cultural assets revaluation reserve
2008
$ ’000s
2007
$ ’000s
Opening balance 2,368,650 2,373,656
Increment during the year 769,532 –
Impairments – (5,006)
Closing balance 3,138,182 2,368,650
Available-for-sale revaluation reserve
14.3 Accumulated deficit
1(t)(iv) 3,184,219 2,414,687
3,398,744 2,619,336
Opening balance (16,515) (9,523)
Result for the year 2,835 7,511
Transfer to collection reserve 1(t)(ii) (12,628) (14,043)
Transfer to infrastructure reserve 1(t)(iii) (2) (460)
Closing balance (26,310) (16,515)
14. Equity and movements in equity Notes
14.1 Contributed capital
2008
$ ’000s
2007
$ ’000s
Opening and closing balance 1( t) i) 159,345 159,345
14.2 Movement in reserves
Collection reserve
Opening balance 158,640 144,597
Transfer from accumulated surplus 12,628 14,043
Closing balance 1( t)(ii) 171,268 158,640
Summary of movements in reserves
At start of year
$ '000s
Movements
$ ‘000s
At end of year
$ '000s
Contributed capital 159,345 – 159,345
Collection reserve 158,640 12,628 171,268
Infrastructure reserve 43,255 2 43,257
Asset revaluation reserve 2,414,687 769,532 3,184,219
Available-for-sale revaluation reserve 2,754 (2,754) –
2,619,336 779,408 3,398,744
Accumulated deficit (16,515) (9,795) (26,310)
Infrastructure reserve
Opening balance 43,255 42,795
Transfer from accumulated surplus 2 460
Closing balance 1(t)(iii) 43,257 43,255
Asset revaluation reserve
Land and buildings
Opening balance 46,037 8,549
(Decrement)/increment during the year – 37,488
Closing balance 46,037 46,037
Total equity 2,762,166 769,613 3,531,779
15. Audit fees
15. AUDIT FEES
2008
$ ’000s
2007
$ ’000s
Audit fees paid and payable to the Victorian Auditor-General's Office 41 38

16. Financial instruments
16. Financial instruments (CONT’D)
16.1 Terms, Conditions and Accounting Policies
16.2 Credit Risk
The accounting policies and terms and conditions of each class of financial asset and financial liability at the reporting date are as follows.
Unless otherwise disclosed, the carrying amount of financial instruments is considered to be a reasonable approximation of fair value.
Recognised Financial
Instruments
Financial assets:
Cash and cash equivalents:
Note Accounting Policies Terms and Conditions
Cash at bank and in hand 22 Cash and bank and in hand is carried at its Subject to working capital needs, funds may be
Current 246 708
84 nominal amount.
invested to earn interest.
> 30 days 52 406
85
Bank deposits on call 22 Bank deposits at call are carried at their nominal Bank deposits at call are available on demand
amounts. Related interest revenue is recognised and earn interest.
31–60 days 143 72
when receivable.
> 60 days 263 600
Receivables:
Total 704 1,786
Trade debtors, prepayments 6 Receivables are carried at their nominal amounts Credit sales are generally on 30 day terms. Other
Potential impairment (124) (223)
and other receivables
Other financial assets:
Managed funds (cash,
diversified fixed interest,
equities and listed property)
Financial Liabilities:
Payables — trade creditors,
other creditors and accruals,
income in advance
Other liabilities — advance
from State Government and
finance leases
less any provisions for doubtful receivables. A
provision for doubtful receivables is made when
there is objective evidence that the amounts may
not be collected. Bad debts are written off when
they are known to be uncollectable.
8 Financial assets are classified as being available
for sale and are stated at fair value. Gains and
losses arising from the changes in fair value are
recognised directly in equity until the financial
assets are disposed of or are determined to be
impaired, at which time the cumulative gain or
loss previously recognised in equity is included
in the net result.
11 Payables represent liabilities for goods and services
provided prior to the reporting date which are unpaid
and are carried at their nominal value. Income in
advance arises when monies have been received
but the obligations to which they relate have not
yet been fully discharged and/or relate to a future
reporting period.
12 Other liabilities represent liabilities for goods and
services provided prior to the end of the reporting
date which are unpaid and are carried at their
nominal value. Finance leases effectively transfer
all the risks and benefits incidental to ownership to
the lessee. An asset and liability are established at
the present value of the minimum lease payments
and lease payments are allocated between the
principal component of the lease liability and
the interest expense.
receivables include GST recoverable from the
Australian Tax Office.
The allocation of managed funds between the
classes of assets is in accordance with the
National Gallery of Victoria's current investment
strategy, which distinguishes between funds held in
perpetuity and funds held for the short to medium
term. The former are included in non-current assets
and the latter are included in current assets as it
is not possible to determine with accuracy when
they will be expended. This strategy is implemented
by the National Gallery of Victoria's current fund
manager, the Victorian Funds Management
Corporation, in accordance with the terms and
conditions of the contract between the two parties.
Payables are generally unsecured and paid on
30 day terms, unless otherwise negotiated.
Finance leases are generally secured on the
underlying assets. Advances from Government are
generally interest free and unsecured.
Credit risk arises from the
potential default of a counter party
on their contractual obligations
resulting in financial loss to the
National Gallery of Victoria.
aged profile of trade debtors
At the balance sheet date, the
maximum exposure to credit risk
in relation to financial assets and,
in particular, receivables is the
carrying amount.
The credit risk in relation to trade
debtors is managed through
processes and procedures for the
establishment of credit and the
collecting of overdue amounts.
At the reporting date, the
aged profile of trade debtors
was as follows:
2008
$ ’000s
No material impairment was identified in respect of any other receivables.
There have been no significant changes in the exposure to this risk, or to the processes for managing it, in the current reporting period.
16.3 Liquidity Risk
Liquidity risk arises when
financial obligations cannot be
met as they fall due. The National
Gallery of Victoria manages
this risk through forecasting
and monitoring cashflows and
operating performance.
aged profile of trade CREDITORS
The National Gallery of Victoria's
practice is to pay its trade creditors
within 30 day terms unless
otherwise negotiated. At the
reporting date, the aged profile of
trade creditors was as follows:
2008
$ ’000s
2007
$ ’000s
2007
$ ’000s
Current 576 1,059
>30 days 1,226 1,448
31–60 days 28 698
>60 days 43 74
Total 1,873 3,279
Financial assets subject to significant market risk (see 16.5) are not required to fund unavoidable financial obligations or to provide working capital.
These funds are generally held for the medium to long term and are applied to the purchase of works of art for the State Collection.
16.4 Funding Risk
Funding risk is the risk of overreliance
on a funding source to
the extent that a change in the
funding source could impact on
the operating result for the current
and future years.
A significant portion of the
National Gallery of Victoria’s
revenue is derived from the
State Government of Victoria
or its agencies.
The National Gallery of Victoria
seeks to manage this risk by
generating additional revenue from
its operating activities and from
philanthropic fundraising.
There has been no significant
change in the exposure to
this risk or the strategies for
managing it during the current
reporting period.

16. Financial instruments (CONT’D) 16. Financial instruments (CONT’D)
16.5 Market Risk
Weighted
Fixed interst
Floating
Non–interest
Market risk is the risk that market These funds are invested and The National Gallery of Victoria Taking into account the current
average
maturing in 1
Total
INTEREST RATE RISK
Notes
interest rate
bearing
rates and prices will change and managed in accordance with recognises that market activity, and future economic climate,
effective
year or less
$ ’000s
$ ’000s
$ ’000s
that will affect the operating result the National Gallery of Victoria’s particularly in equities, can
the table below discloses the
interest rate
$ ’000s
or value of assets and liabilities of investment strategy, which
give rise to significant short sensitivity of the National Gallery
2008
the National Gallery of Victoria. includes a variety of equity assets, term volatility in the value of of Victoria’s financial assets
The main exposures to market risk inflation-sensitive assets, income financial assets and this risk is to movements in the pricing of
Financial assets
arise through price risk, interest assets and absolute-return assets accepted and managed within managed investments by shifts
Cash and cash equivalents
rate risk and foreign currency risk. and distinguishes between the the objectives of the investment of +/- 5% and +/- 10%.
— cash at bank and on hand 22 6.00% 1,674 – 62 1,736
The principal financial instruments differing objectives and risk strategy. In the current reporting
affected by these risks are other profiles of funds held for the period, global equity markets
— cash deposits at call 22 7.15% 6,114 – – 6,114
86 87
Receivables 6 n/a – – 1,290 1,290
financial assets, comprising
managed funds.
medium term and for the longer
term. Such assets are stated
at fair value which is generally
approximated by market value.
Gains and losses arising from
the changes in fair value are
recognised in the carrying value
of the assets.
suffered a significant decline with
losses common in most markets,
including Australia. This fall was
reflected in the fair value of the
National Gallery of Victoria’s
financial assets during the
reporting period.
Price risk sensitivity +5% -5% +10% -10%
2008
Financial assets
Carrying Amount
$’000s
Net Result
$’000s
Equity
$’000s
Net Result
$’000s
Equity
$’000s
Net Result
$’000s
Equity
$’000s
Net Result
$’000s
Equity
$’000s
Cash and cash equivalents 7,850 – – – – – – – –
Receivables 1,290 – – – – – – – –
Other financial assets (managed funds) 36,609 1,516 1,516 (1,516) (1,516) 3,032 3,032 (3,032) (3,032)
Total increase/(decrease) 1,516 1,516 (1,516) (1,516) 3,032 3,032 (3,032) (3,032)
2007
Financial assets
Cash and cash equivalents 2,008 – – – – – – – –
Receivables 2,713 – – – – – – – –
Other financial assets (managed funds) 42,609 2,024 2,024 (2,024) (2,024) 4,048 4,048 (4,048) (4,048)
Total increase/(decrease) 2,024 2,024 (2,024) (2,024) 4,048 4,048 (4,048) (4,048)
16.5.1 Interest rate risk
Interest rate risk arises from the
potential of changes in interest
rates to affect the reported result.
A fluctuation in interest rates may
also give rise to changes in the fair
value of financial instruments.
The interest rate risk on cash at
bank and bank deposits at call
is not considered material to the
reported result. The interest rate
risk on cash managed funds is
managed as part of the overall
investment strategy which includes
a variety of equity assets, inflationsensitive
assets, income assets
and absolute-return assets.
The National Gallery of Victoria's
exposure to interest rate risks
and the effective interest rates
of financial assets and financial
liabilities are as follows:
Other financial assets (managed funds)
— cash deposits 8 7.20% 6,269 – – 6,269
— unit trusts (fixed interest) 8 n/a 2,164 2,164
— unit trusts (equities and property) 8 n/a – – 28,176 28,176
Financial liabilities
14,056 – 31,693 45,749
Payables 11 n/a – – (8,807) (8,807)
Advance from Government 12 n/a – – (875) (875)
– – (9,682) (9,682)
Net financial assets/(liabilities) 14,056 – 22,011 36,067
2007
Financial assets
Cash and cash equivalents
— cash at bank and on hand 22 5.00% 1,891 – 91 1,982
— cash deposits at call 22 6.00% 27 – – 27
Receivables 6 – – 2,713 2,713
Other financial assets
— cash deposits 8 6.32% 2,126 – – 2,126
— unit trusts (fixed interest) 8 n/a – – 6,326 6,326
— unit trusts (equities and property) 8 n/a – – 34,157 34,157
Financial liabilities
4,044 – 43,286 47,330
Payables 11 – – (11,410) (11,410)
Advance from Government 12 – – (1,750) (1,750)
Finance lease 12, 20 7.10% – (58) (58)
– (58) (13,160) (13,218)
Net financial assets/(liabilities) 4,044 (58) 30,126 34,112

16. Financial instruments (CONT’D)
17. Superannuation
16.5.1 Interest rate risk (continued)
The sensitivity analysis below discloses the impact on the operating result and equity of changes in interest rates on the National Gallery
of Victoria's financial assets by +/- 50bp and +/- 100bp.
Interest rate risk sensitivity
2008
Carrying Amount
$'000s
+0.5%
(50 basis points)
Net Result
$'000s
Equity
$'000s
–0.5%
(50 basis points)
Net Result
$'000s
Equity
$'000s
+1%
(100 basis points)
Net Result
$'000s
Equity
$'000s
–1%
(100 basis points)
Net Result
$'000s
Equity
$'000s
Financial assets
Cash and cash equivalents 7,850 39 39 (39) (39) 78 78 (78) (78)
17. SUPERANNUATION CONTRIBUTIONS
88 89
Receivables 1,290 – – – – – – – –
Employee
Employer Contribution Contribution
Fund
Plan
contribution contribution for the year for the year
Other financial assets (managed funds) 36,609 – – – – – – – –
rate (%)
rate (%)
2008 $
2007 $
Total increase/(decrease) 39 39 (39) (39) 78 78 (78) (78)
Government Superannuation Office
Defined benefit 9.5 17 88,636 108,638
(Revised Scheme)
2007
Financial assets
Cash and cash equivalents 2,008 10 10 (10) (10) 19 19 (19) (19)
Receivables 2,713 – – – – – – – –
Other financial assets (managed funds) 42,609 – – – – – –
Total increase/(decrease) 10 10 (10) (10) 19 19 (19) (19)
16.5.2 Foreign currency risk
The National Gallery of Victoria
has several staff who are
members of the public sector
superannuation schemes listed
below. As at 30 June 2008, these
schemes were carrying total
liabilities, including liabilities for
members' benefits, in excess of
the value of the schemes' assets.
Government Superannuation Office
(New Scheme)
In line with Government policy, the
unfunded superannuation liabilities
have been reflected in the financial
statements of the Department of
Treasury and Finance.
Defined benefit
Superannuation contributions for
the reporting period are included
as part of employee benefits in the
Operating Statement. There were
no contributions outstanding at
the year end and there have been
no loans made from the funds
(2007 – nil).
–
3
5
7
8.5
8.8
9.7
10.5
The details of the major employee
superannuation funds and
contributions paid or payable by
the National Gallery of Victoria
are as follows:
91,025 104,111
VicSuper Pty Ltd Defined contribution – 9 1,217,094 935,838
Various other Defined contribution – 9 77,092 25,878
Total 1,473,847 1,174,465
Foreign currency risk arises from
changes in the value of assets
and liabilities denominated in
foreign currencies as exchange
rates fluctuate.
The National Gallery of Victoria
makes purchases and sales in
foreign currencies and reduces
its risk by, wherever practical,
preferring a certain outcome
over an uncertain outcome and
by minimising its exposure to
exchange rate movements.
The National Gallery of Victoria's
investment strategy also allows for
investment in international equities
(hedged and unhedged) and
overseas securities. This foreign
currency risk is managed as part
of the overall investment strategy
which includes a variety of equity
assets, inflation-sensitive assets,
income assets and absolutereturn
assets.
At the year end, payables,
for works of art purchases,
included the following balances
denominated in foreign currencies
USD 1,212,500
Euro 940,000
GBP 20,000
18. Responsible persons disclosures
Responsible persons
During the reporting period the
following people held a position
designated as a "responsible
person", as defined by the
Financial Management Act 1994:
All responsible persons held a
position for the full financial year,
unless otherwise stated.
Ministers:
The Hon. L. Kosky MLA
Trustees who served during the
year were:
Mr R Dewhurst
Mr P Edwards
(appointed 3 June 2008)
Mr V FitzGerald
Mr R Grollo
(resigned 14 March 2008)
Ms M Kelsall
Mr A Myers (President)
Ms A Ndalianis
Ms M Palmer
Mr B Parncutt
Ms M Plavsic
Ms S Smart
(resigned 31 May 2008)
Mr J Sau Lee Yeap
Director:
Dr G Vaughan
No benefits or remuneration were
paid to responsible persons other
than to the Accountable Officer,
the Director of the National Gallery
of Victoria.
Amounts relating to the Minister
are reported in the financial
statements of the Department of
Premier and Cabinet.

18. RESPONSIBLE PERSONS DISCLOSURE (CONT’D)
20. Commitments for expenditure
Remuneration benefits of Executive Officers
The numbers of Executive Officers are shown below in their relevant income bands.
Remuneration bands
Total Remuneration
2008
No.
2007
No.
Base Remuneration
$130,000 – $139,999 – – – 1
$140,000 – $149,999 1 1 1 1
$150,000 – $159,999 1 1 1 2
2008
No.
2007
No.
90 $160,000 – $169,999 – 1 – –
91
$180,000 – $189,999 – – 1 –
$190,000 – $199,999 1 – – –
$220,000 – $229,999 – 1 – –
$230,000 – $239,999 (Accountable Officer) – – – 1
$240,000 – $249,999 (Accountable Officer) – – 1 –
$250,000 – $259,999 (Accountable Officer) – 1 – –
$260,000 – $269,999 (Accountable Officer) 1 – – –
Total numbers 4 5 4 5
Total amount $769,143 $945,846 $713,952 $836,003
20. Commitments for expenditure Notes
Building occupancy services under contract
Expenditure contracted for is payable as follows:
2008
$ ’000s
2007
$ ’000s
Within one year 9,689 14,548
Later than one year but not later than five years 19,485 21,625
Over five years 60,135 63,942
Equipment operating leases
Expenditure contracted for is payable as follows:
89,309 100,114
Within one year 485 426
Later than one year but not later than five years 475 442
Representing:
960 868
Cancellable operating leases 960 868
1(p) 960 868
Related party transactions
There were no related party transactions during the year (2007 - nil).
The National Gallery of Victoria leases certain plant and equipment under operating leases.
Leases of plant and equipment generally provide a right of renewal at which time all terms are renegotiated.
19. Contingent assets and contingent liabilities
As at the 30 June 2008 the National Gallery of Victoria had no known contingent assets or contingent liabilities (2007 – nil).
Finance leases
Commitments in relation to finance leases are payable as follows:
Within one year – 59
Minimum lease payments – 59
Less: future finance charges – (1)
Recognised as a liability – 58
Total lease liabilities – 58
Representing lease liabilities:
Current 1(p) – 58
Minimum future lease payments include any guaranteed residual value.
21. Events occuring after reporting date
There were no significant events occurring after the reporting date in 2008 (2007 – nil).

22. Cash and cash equivalents
Other Statutory Reports
For the purposes of the Balance Sheet and the Cashflow Statement, cash includes cash on hand, cash at bank and bank deposits on call.
22. Cash and cash equivalents Notes
2008
$ ’000s
2007
$ ’000s
Cash at bank and on hand 1(k) 1,736 1,981
Bank deposits on call 6,114 27
1(k) 7,850 2,008
June 2008 226.00 178.00 48.00 207.46 60.80 30.63 237.63 272.31
92 93
23. Note to Cashflow Statement
Reconciliation of net result for the year to net cashflows from operating activities
23. Note to Cashflow Statement
2008
$ ’000s
2007
$ ’000s
Net result for the reporting year 2,835 7,511
Plus:
Depreciation 10,168 9,758
Capital asset charge 3,954 3,858
Cultural assets written down – 250
Increase in provisions for employee entitlements 101 65
Decrease in receivables 1,423 –
Increase in income in advance – 741
Decrease in inventories – 44
Decrease in prepayments and other assets 1,990 –
Assets written down – 76
Net investment loss on managed funds 1,819 –
Less:
19,455 14,792
Donated cultural assets (3,302) (4,493)
Proceeds from the sale of deaccessioned cultural assets (368) –
Increase in receivables – (564)
Increase in prepayments and other assets – (3,392)
Decrease in payables (1,579) (1,171)
Decrease in income in advance (1,024) –
Increase in inventories (279) –
Capital asset charge grant (3,954) (3,858)
Net investment distribution reinvested – (5,390)
(10,506) (18,868)
Net cashflows from operating activities 11,784 3,435
Staff Statistics
The National Gallery of Victoria started the 2007/ 08 financial year with 248.7 full time equivalent head count employees (Note 1)
(Actual Total = 271.89 – Note 2) and ended it with 237.67 (Actual Total = 272.31).
Summary
Notes
Gender
Employees
(Headcount)
Ongoing
2008 2007
FTE
Fixed term
& Casual
Employees
FTE
Employees
(Headcount)
Ongoing
FTE
Fixed term
& Casual
Employees
Male 85 78.43 20.92 80 75.5 21.67
Female 147 133.08 39.88 146 131.96 42.76
Total 232 211.51 60.8 226 207.46 64.43
Age
Under 25 3 2.7 4.56 7 6.7 10.09
25–34 85 75.56 36.76 81 73.19 34.52
35–44 86 78.45 11.33 81 74.05 10.19
45–54 38 36.4 4.04 36 34.9 3.53
55–64 18 16.4 4.11 18 16.2 6.1
Over 64 2 2 0 3 2.42 0
Total 232 211.51 60.8 226 207.46 64.43
Classification
Employees
(Headcount)
In reporting employee numbers,
two measures have been applied:
1 Authorised headcount positions
2 Actual employees on NGV payroll at end
of financial year (including additional
casuals and short term contracts)
Ongoing
Employees
Full Time
(Headcount)
Fixed term &
Casual Employees
TOTAL
(Notes 1 & 2)
Part Time
(Headcount) FTE Employees FTE FTE ACTUAL
June 2007 232.00 181.00 51.00 211.51 64.43 37.19 248.70 271.89
VPS1 8 5.2 5.27 10 6.9 5.28
VPS2 71 59.26 27.91 67 56.71 40.01
VPS3 70 67 12.11 65 62.4 8.54
VPS4 42 40 5.91 44 42.8 5.6
VPS5 22 21.55 7.6 19 18.15 4
VPS6 15 14.5 2 17 16.5 1
Executive 4 4 0 4 4 0
Total 232 211.51 60.8 226 207.46 64.43
FTE

EMPLOYMENT AND
CONDUCT principles
The NGV is committed to ensuring that merit
• Conducting a series of interactive,
organisation-wide staff workshops,
promoting both awareness and engagement
• Negotiated programs. Offering schools the
option of negotiating special programs or
tours based on requests by teachers.
• Shiro Aoyagi, Japanese Calligraphy Master
and artist providing a special demonstration
in the Great Hall for 250 enthusiastic
• NAIDOC week, Reconciliation Week and
Mabo Day providing community based
Indigenous performances, music and artists
• NGV Education Regional schools touring
program in collaboration with Regional Arts
Victoria. More than 700 regional secondary
and equity principles are integral to all aspects
of human resource development. Its strategy
in relation to NGV Values — Excellence,
Integrity and Access — and Public Sector
• Cultural Days. Many full day programs with
students participating in a tour, workshop
attendees. The Consul General of Japan in
Melbourne introducing the artist.
talks — activities to celebrate Indigenous
art and culture. In 2008 featuring Karen
school students accessing the NGV and
Regional Arts Victoria’s (RAV) Designers @
for ensuring this includes the:
Values/VPS Code of Conduct. These
and activity.
Case’s artist talk for Reconciliation Week Work workshop exploring the contemporary
• recruitment, selection and
Values are now built into the NGV’s
3. Other NGV School Programs
3. Intercultural Programs
on 1 June, film screening and discussion Australian designer Akira Isogawa.
probation procedures
Performance Appraisal system, induction • Assistance from VicHealth in providing
Developing collaborative programs developed on remembering Mabo on 3 June ,
Designers @ Work offering students an
• induction process
and into each individual role statement to schools with free programs and transport
in conjunction with embassies, consulates and Liz Cavanough’s music performance in
“education through the arts” experience
• grievance resolution process, and
ensure ongoing awareness and support. assistance. Many of these schools
the tertiary sector such as Lettera Amorosa, a May as part of late night opening at
with emphasis on cross-curricula and crosscultural
• performance development and
have students that have recently
1.5 hour tour of the NGV International focussing Federation Square.
teaching and learning. Participating
progression (PDP) system.
b) Valuing cultural diversity
arrived in Australia.
on the theme of love celebrating cultural
students engaging in a virtual tour of Akira’s
School Programs and Cultural Diversity
• Italian tours for adult learning groups, such
diversity through music, readings, art and culture. c) Valuing Women Initiatives
exhibition, investigating ideas, materials
94
Upholding public sector conduct 1. Language Kits available
as COASIT Ladies Committee and the
Highlighting French, Italian, German and Spanish • According to the State Services Authority and techniques, followed by a practical
All National Gallery of Victoria staff
(based on permanent collection)
Ladies Auxiliary of Assisi Centre
works or artists through curator talks, VCA
Workforce Data Collection Report (2007), workshop to design, create and make their
95
are provided with induction and
• Italian – Dove c’e arte (printed resource) (Elderly group).
students’ performances and readings by
the NGV has the highest percentage of
own textile piece.
orientation covering:
• French – Bleu Blanc Rouge
• Education Week Italian Programs
Monash University language students.
females of all the organisations surveyed, • Schools Access Program in collaboration
• NGV Values — Excellence, Integrity
(printed resource)
(free programs for students of Italian with
63% of the NGV employees are female. with and supported by VicHealth. The
and Access
• German – Deutsche Kunst Entdecken
funding by DEECD).
4. Conferences, Seminars,
• Ongoing support and provision of flexible Schools Access program providing NGV
• Code of Conduct for the Victorian
Public Sector
(printed resource)
German – German Kit (CD rom)
• Providing tours for English Language
Centres and Schools (primary, secondary,
Forums and Lectures
Developing collaborative programs developed
work arrangements for female staff wishing
to return to work after maternity leave.
based programs for 3,042 primary and
secondary school students (from Prep
• Equal opportunity, discrimination,
Spanish – currently being worked on
tertiary students and adults).
in association with academics, community
to Year 12) who had not visited the NGV
harassment and bullying awareness
(to be a DVD & printed)
• Linking French Teacher evenings with
group leaders and conference convenors e.g. d) Valuing Youth Initiatives
before due to distance or economic
• NGV’s grievance process
• Japanese – currently being
exhibitions (collaboration between
Great Beings Seminar celebrating the diversity • Continuing work experience and
circumstances. Schools including 12
• Whistleblower’s Protection
worked on (Interactive Whiteboard
NGV Schools and French Teachers’
of faiths and spirituality — each seminar
internship programs.
Catholic schools and 26 regional schools
Policy and Guidelines
Technology resource)
Association of Victoria)
providing a forum for understanding of the • In excess of 105,000 students and
from areas including Sale, Hadfield,
• Confidentiality and Intellectual
Property Policies
• Indigenous — Currently being
worked on (Interactive Whiteboard
NGV Public Programs / Voluntary
principles and practices of different religions —
Judaism, Buddhism, Zen, Catholicism, Muslim
youth participating in youth-centred
programs and activities.
Corio South, Geelong, Warrnambool,
Carraragaramungee and Myrtleford.
• Financial Code of Practice, and
Technology resource)
Guides and Cultural Diversity
and Christianity. The NGV’s diverse collections • NGV Youth Access and Education
• National Gallery of Victoria and Song
• Other NGV policies.
1. Conducting Guided tours
providing visual imagery used presented in
collaborating with MacKillop Family
Room collaborating on a one day visual
2. Culturally specific Education
• In languages other than English – e.g.
the talks and discussion.
Services to provide free tours and
and performing arts program for schools
Reviewing personal grievances
For the 12 months ending 30 June 2008 there
was one grievance lodged. This was resolved
Tours/workshops
Offering these programs using
both the permanent collection and
Italian, French, Chinese, Japanese and
Dutch for International tourists, community
groups and international visitors
5. Community Events and
NGV Music Programs
workshops for at risk and homeless
youth in conjunction with the youth
exhibition Soul Art.
disadvantaged by distance or economic
hardship. Over 450 students from nine
schools enjoying performances of the
internally, utilising standard Human Resource temporary exhibitions:
• International conference groups
Programs highlighting the history, traditions • Young Ambassadors Valedictory Reception. Warbles in the Great Hall followed by a
processes, with no further action required. • ESL tours for students from non
English speaking backgrounds from
• Group tours with Immigration
Museum Members (organised by
and contemporary contributions of diverse
communities and cultures, showcasing the
Sam Lipski, CEO The Pratt Foundation,
awarding certificates of participation to
gallery tour with educators looking at
iconic works of art.
Responsiveness to cultural
primary to tertiary levels.
Immigration Museum)
significant interplay between art, music,
Christopher Drummond, Sebastian Fransz, • The Arts Centre and National Gallery of
diversity, women, youth and
Indigenous affairs
• Italian LOTE (Full time NGV Italian
Ed Officer offering classes in Italian)
• Tours/bookings for local cultural, social
groups (i.e. All China Women’s Community
language and culture from the past to
present day.
Wendy Gausch, Sebastian Hurlston,
Jessica Loft, Max Milne, Luke Morrison,
Victoria collaborating to provide a whole day
cross arts program Arts Connect 9 for 320
In line with the State Government’s
• French LOTE.
Group, Maltese Historical Assoc.,
• Italian Festival. In conjunction with the
April Schembri, Justin Tumilar and Kerrin year 9 students from regional Victoria.
whole-of-government approach on
• German LOTE.
National Council of Jewish Women)
Melbourne Italian Festival in May 2008,
Walton on the successful completion
agency responsiveness to the issues of
• Chinese and Japanese LOTE
highlighting the history, tradition and
of their 6 month training program and e) Valuing Indigenous Victorians initiatives
multiculturalism, women, youth and Indigenous • Ancient Civilisations tour. Includes Greek, 2. Exhibition Programs
contemporary contributions in Italian art, commencement of engagement with the • Including the representation of Indigenous
affairs, NGV initiatives undertaken in 2007–08
have included:
Roman, Egyptian, Chinese and
Pre-Columbian.
• Exhibition based and inspired programs
embracing cultural diversity, community
language, music and culture with the Teatro
La Fenice chamber musicians from Venice,
National Gallery of Victoria as the 2007
NGV Young Ambassadors.
artists, academics, performers and
musicians in NGV Education, Public &
• Cross Cultural Landscapes. Comparing
collaboration and public participation. Some
the launch of limited edition books Skin
Members programs.
a) Internal initiatives:
landscapes by Indigenous, colonial
recent exhibitions and programs include:
Surfaces and Shadows by artist/designer
• Dedicated student programs for all year
• Implementing phase two of a
comprehensive leadership development
program, covering the Strategic Leadership
and contemporary Australian artists
with landscapes created by Indigenous
Chinese and Japanese artists.
• Discover India in Melbourne, journeying to
an Indian temple, craft shops and restaurant
all within one hour’s drive of the CBD as
Tommaso Durante and Still work to be done
poems and readings in Italian and English
by Chris Wallace Crabbe.
levels providing insight into the diversity
of Indigenous art, culture, ideas and
thinking through the State collection
Team (SLT) and Senior Management Team • Australian Culture & Identity. Exploring
part of the Krishna program,
• Indonesia Day and Gamelan performance.
and the exhibition program. With NGV
(SMT); provision of individual coaching and
mentoring to senior managers; structured
Skill Development Training workshops and
training programs providing managers with
issues relating to immigration, Australian
history, politics and the impact on Australian
culture. Examining the contributions made
by different cultural groups.
• Chinese Art exhibitions: Golden Screens
and Kim Hoa Tram, providing Chinese
calligraphy workshops, Chinese Puppetry,
Artbus to Chinese Museum in Bendigo,
Hosting this annual community day in
the Great Hall with over 600 attendees
enjoying Gamelan music and performance,
traditional costume.
Indigenous Project Officer, Education &
Curatorial staff, artists and community
representatives presenting.
the skills and knowledge to coach and/or
mentor their staff.
• Indigenous Collection..
Meditation workshops, tea ceremony,
Ikebana demonstrations, and

• Teacher Professional Development
programs utilizing the State collection
and exhibition program to explore, build
knowledge and confidence to discuss and
develop curriculum and teaching strategies.
• Targeted Public Programs raising the profile
of and valuing Indigenous people in the
arts and culture industry through National
Gallery of Victoria forums, artists’ talks,
demonstrations and workshops.
• Youth Access Programs for Indigenous
youth providing free workshops and tours
by NGV Young Ambassadors and the NGV language centre, Wesley College (a program would be caused hardship because he/she had
Department of Sustainability and Environment The number and types of investigations taken over from the NGV
0 0
Indigenous Project Officer.
focused on My Country-My Place) and the to pay the fee. Requests are forwarded to the
to support increasing NGV’s Green Power from by the Ombudsman
96 97
• Youth Forum advising on programs,
Victorian College of Koorie Education. FOI Coordinator, National Gallery of Victoria,
10% to 25% over the next three years.
The number of requests made by a whistleblower to the
0 0
exhibitions and services to attract young • Sites of Communication 3 Symposium. PO Box 7259, Melbourne Vic 3002.
Ombudsman to take over an investigation by the NGV
people to NGV exhibitions, programs
Hosting the third symposium to investigate
b) Water
The number and types of disclosed matters that the NGV has
and events. Forum members include
the evolving role of the art museum, a For the 12 months ending 30 June 2008,
Large reductions in water usage through
0 0
declined to investigate
Indigenous youth.
forum for art museum professionals to one request was received from a Member of
the NGV Water Management Plan, were
The number and types of disclosed matters that were
• Delivering School Programs designed for discuss contemporary issues. Featuring the Parliament and none from the general public. This
significantly boosted with the completion of
substantiated upon investigation and the action taken on
0 0
Indigenous young people in schools with a keynote address on The Cultural Interface request was still under consideration at year end.
works to capture storm water runoff from NGV completion of the investigation
range of programs exploring contemporary which highlighted the complexities of
International for reuse in the irrigation system
Any recommendations made by the Ombudsman that
Indigenous issues, Indigenous art and
the intersection between Indigenous and Environmental Performance
of the Grollo Equiset Garden.
0 0
relate to the public body
culture with the NGV Indigenous Project non-Indigenous positions in relation to Strategic planning for sustainability was a
Officer and Education Officers. In particular,
a continuing program established in
conjunction with the Koorie College of
Education in Glenroy.
• Indigenous Art and Culture Outreach.
Offering schools the following program:
• A professional learning session at NGV
Australia for a group of teachers to enhance
their knowledge and understanding of
traditional and contemporary Indigenous
culture, including a conversation with the
NGV Indigenous Project Officer about
contemporary Indigenous issues and
artistic practice in front of traditional
and contemporary art.
• A student tour of the Indigenous collection
and/or related workshop.
• The NGV Indigenous Project Officer
visiting the school to engage in extended
conversations and presentations for
staff and students.
• VicHealth and NGV Schools Access
Program providing tours and practical
workshops focused on Indigenous art
for ESL students, introducing them to
the significance of the rich diversity of
Australian Indigenous art and culture.
• NGV Indigenous Project Officer liaising
directly with schools with Indigenous
students in particular the Victorian College
of Koorie education at Glenroy enabling the
students to participate in an extended visual
art and literacy program viewing significant
artworks from the Indigenous collections
and responding by creating their own
artworks and poetry.
• Partnership programs with Melbourne Royal
Botanic Gardens, Koorie Heritage Trust,
One Fire Aboriginal Dance Group, Hawthorn
the Higher Education sector, introducing
the Cultural Interface as an alternate
framework for understanding and engaging
such complexities in the everyday situation
of Indigenous learners. The speaker
being Professor Martin Nakata, Chair of
Australian Indigenous Education, Director of
Jumbunna Indigenous House of Learning,
University of Technology, Sydney. The two
day symposium attended by 213 local,
interstate and international participants
with other speakers featuring presentations
by Indigenous artists in an exploration of
topical themes in relation to Indigenous art
and culture including knowledge transfer,
community projects, exhibition design,
gallery architecture and the environment.
• Children’s/Family trail focusing on the
NGV’s Oceanic Collection in association
with Chookahs the Arts Centre’s Annual
Children’s Festival held in November
2007. The NGV Kids’ Trail Hilhil si the
basket weaver is based on a story told
and sung to the Curator, Sana Balai, when
she was a child growing up at Buka in the
Solomon Islands.
Freedom of Information
The Freedom of Information Act 1982 (FOI)
enables members of the public to obtain
information held by the National Gallery of
Victoria. FOI requests should be made in
writing describing the documents requested
and including payment of the $22.70
application fee and further charges may apply
which can be waived if the request is a routine
request or for access to a document related to
the applicant’s personal affairs. The application
fee can be waived or reduced if the applicant
priority in 2007–08, particularly in developing
policy and long-term action plans addressing
State Government policies and targets, internal
communications and the creation of data
tracking systems. In 2007 in response to the
State Government’s policy “Our Environment
Our Future” the National Gallery of Victoria
was one of the first arts agencies participating
in Sustainability Victoria’s ResourceSmart
project to develop a corporate environmental
management system.
Finalised in January 2008 the NGV
Environmental Management Framework, a
forward plan for sustainability actions, includes
internal structures and policies as well as
detailed action plans for key areas such as
waste management and green procurement,
going beyond the key energy and water
consumption issues.
a) Energy
The final report of the Government Sustainable
Energy Targets Scheme in 2007 showed that
NGV was meeting, or exceeding, the required
energy reduction targets. Reductions of 19.6%
in electricity use and more than 12 million
litres of water per annum were being achieved,
as well as the purchasing of 10% of NGV’s
electricity as accredited Green Power.
Further energy management initiatives in
the Environmental Management Framework
including a funding arrangement with the
c) Cooperation
We developed an agreement for sustainability
cooperation with Federation Square Pty Ltd,
the landlord of The Ian Potter Centre: NGV
Australia, contained in a formal Building
Management MOU in early 2008, committing
both parties to joint actions and sharing of data
and information.
The National Gallery of Victoria and The Arts
Centre continued to cooperate on energy
efficient shared infrastructure, with emphasis
on The Arts Centre’s high energy consumption
cooling towers and air conditioning services
which support climate control within
NGV International.
Occupational Health and Safety
In 2007–08, 181 days were lost as a result of
work-related accidents, compared to 261 days
in 2006–07.
The number and types of disclosures made to
NGV during the year
COMPLIANCE WITH BUILDING ACT 1993
In 2007/08, the NGV owned premises at NGV
International, 180 St Kilda Road, Melbourne.
As a tenant the NGV also occupied premises at
the following locations:
— The Ian Potter Centre: NGV Australia,
Federation Square;
— Public Records Office Victoria, 99 Shiel
Street, North Melbourne;
— 513–521 Victoria Street, West Melbourne; and
— The Simcock Avenue store (part of 20–40
Booker Street, Spotswood).
The NGV complied, throughout the year, with all
provisions of the Building Act 1993.
Privacy
NGV has complied with all requirements under
the Information Privacy Act 2000. For the 12
months ending 30 June 2008, there were no
complaints against the National Gallery of
Victoria in relation to breaches of privacy.
Whistleblowers
2007–08
Number
The Whistleblowers Protection Act 2001
encourages and assists people in making
disclosures of improper conduct by public
officers and public bodies. The Act provides
protection to people who make disclosures
in accordance with the Act and establishes
a system for the matters disclosed to be
investigated and rectifying action to be taken.
The NGV does not tolerate improper conduct
by employees, nor the taking of reprisals
against those who come forward to disclose
such conduct. It is committed to ensuring
transparency and accountability in its
administrative and management practices and
supports the making of disclosures that reveal
corrupt conduct, conduct involving a substantial
mismanagement of public resources, or
conduct involving a substantial risk to public
health and safety or the environment. The
2006–07
Number
Public Interest Disclosures 0 0
Protected Disclosures 2 0
The number of disclosures referred during the year by the NGV to
the Ombudsman for determination as to whether they are public
interest disclosures
The number and types of disclosed matters referred to the NGV
by the Ombudsman for investigation
The number and types of disclosures referred by the NGV to the
Ombudsman for investigation
1 0
0 0
0 0
NGV will take all reasonable steps to protect
people who make such disclosures from any
detrimental action in reprisal for making the
disclosure. It will also afford natural justice to
the person who is the subject of the disclosure.

Reporting procedures
Disclosures of improper conduct or
detrimental action by the National Gallery
of Victoria or its employees may be made
to the following officer:
The Protected Disclosure Coordinator
Ms Leigh Mackay
Head of Corporate Office
Phone: (03) 8620 2392
ATTESTATION ON COMPLIANCE WITH
THE AUSTRALIAN/NEW ZEALAND RISK
MANAGEMENT STANDARD
I, Allan Myers, certify that the Council of
Trustees of the National Gallery of Victoria
has risk management processes in place
consistent with the Australian/New Zealand
Risk Management Standard and that an internal
control system is substantially in place that
enables the executive to understand, manage
•
•
•
•
details of publications produced by the NGV
about the activities of the NGV and where
they can be obtained;
details of changes in prices, fees, charges,
rates and levies charged by the NGV
for its services, including services that
are administered;
details of any major external reviews carried
out in respect of the operation of the NGV;
details of any other research and
Alternatively, disclosures of improper conduct
or detrimental action by the NGV or its
employees may also be made directly to
and satisfactorily control risk exposures. The
Council of Trustees of the National Gallery
of Victoria is committed to enhancing the
development activities undertaken by
the NGV that are not otherwise covered
either in the Report of Operations or in
Donors
MASTERPIECES
FOR MELBOURNE
The following list salutes the
individuals, families, organisations
and those who wish to remain
anonymous, whose pledges and
gifts have given our Masterpieces
for Melbourne campaign a
tremendous launch.
Cash Gifts to the Art
Acquisition Fund
1 July 2007 – 30 June 2008
The Eugenie Crawford Bequest
Dame Elisabeth Murdoch AC DBE
Estate of Donald Allan Wright
The Warren Clark Bequest
Paula Fox
Morry Fraid & Ruben Fried
Norma Atwell
Duncan Fraser Smith
Hari N Harilela OBE
Joan Macdonald
Irene Sutton
Frederick Woodman
Jean Hadges
Gwendoline Northey
Helen Gory Galerie
Glen Harrington & Robyn Eastham
Jan Minchin
Mark Newman
William Nuttall & Annette Reeves
Andrew Rettig
Brian Sherman AM &
Gene Sherman
Sam Smorgon AO &
98
the Ombudsman.
management of risk and is working towards a document which contains the financial
Marie Theresa McVeigh Trust Richard & Vivienne Reed
Minnie Smorgon
best practice. A particular focus is ensuring a report and Report of Operations;
Leadership Gifts & Pledges Margaret Ross AM
Robert Stevens
Naomi Triguboff Travers
99
The Ombudsman Victoria
comprehensive understanding and appreciation • details of overseas visits undertaken
Loti Smorgon AO & Victor
The Scanlon Foundation
Elizabeth Xipell
Anne Wall-Smith
Level 9, 459 Collins Street (North Tower) of risk management across the organisation, including a summary of the objectives and
Smorgon AC
Michael & Emily Tong
Melbourne VIC 3000
through training and education. The Audit
outcomes of each visit;
Allan Myers AO & Maria Myers AO
Margaret Banks OAM
Peter Bancroft OAM &
Telephone: (03) 9613 6222
Risk and Compliance Committee verifies • details of major promotional, public relations
The Thomas William Lasham Fund Connie Cooke
Marlyn Bancroft
Toll free: 1800 806 314
this assurance and that the risk profile of the and marketing activities undertaken by the
Anonymous
Joe White Bequest
Auret Flower
Andrew Cook
Internet: www.ombudsman.vic.gov.au
Council of Trustees of the National Gallery of NGV to develop community awareness of
Anonymous
Greg & Jennifer Goodman
Anita Hughes
Email: ombudvic@ombudsman.vic.gov.au Victoria has been critically reviewed within the the services provided by the NGV;
William Bowness
Anonymous
Penny Lewisohn
last 12 months.
• details of assessments and measures
(Bowness Family)
Harold & Krystyna
Oceapro
Contemporary Art
Further information
undertaken to improve the occupational
Alan & Mavourneen Cowen
Campbell-Pretty
Sonia Popovic
Acquisition Fund
Written guidelines outlining the system for Allan Myers
health and safety of employees, not
Ian Hicks AM
The Orloff Family Charitable Trust Robin Sharwood
Peter Clemenger AM &
reporting disclosures of improper conduct or President
otherwise detailed in the Report of
John Higgins
Jessica Taylor
Joan Clemenger
detrimental action by the NGV or its employees 28 August 2008
Operations;
Bruce Parncutt & Robin Campbell Anne & John Grindrod
Robin Taylor
Vivien Knowles
are available for public perusal.
• a general statement on industrial relations
Jason Yeap & Min Lee Wong Frederick Matear
Phillip Turner
Implementation of the Victorian
within the NGV and details of time lost
Yulgilbar Foundation
Allan Myers AO
Clyde & Deborah Davenport
Disclosures under the
Industry Participation Policy
through industrial accidents and disputes,
Robert & Vicki Smorgon
COLLECTION SUPPORT
Lisa Dethridge
Whistleblowers Protection Act
There are no reportable contracts for 2007–08. which are not otherwise detailed in the
Ross Adler AC & Fiona Adler Margaret Stones AM MBE
The current procedures established by
Report of Operations; and
Ron & Katie Dewhurst
NGV Contemporary
Supporters of Asian Art
the public body under Part 6 are available Additional information available • a list of NGV’s major committees, the
Peter Griffin AM
Merran Kelsall
Michael & Donna Boyd
Lynton & Susan Morgan
upon request.
on request
purposes of each committee and the extent
Rino Grollo & Diana
Gordon Moffatt AM &
The Myer Family Office
In compliance with the requirements of
to which the purposes have been achieved.
Ruzzene-Grollo
Jacqueline Moffatt
UBS
Asian Art Acquisition Fund
Consultancies
the Standing Directions of the Minister for The information is available on request from:
Dame Elisabeth Murdoch AC DBE Playoust Family Foundation
Paul Cochrane
During the year ending 30 June 2008, the NGV Finance, details in respect of the items listed Ms Leigh Mackay
Michael & Emily Tong
Daniel & Danielle Besen
Mering Corporation
incurred an amount of $735,653 (excluding below have been retained by the NGV and are Head of Corporate Office
Francis & Sue Ebury
Michael & Janet Buxton
Maudie Palmer AO
GST) in respect of 51 consulting engagements. available to the relevant Ministers, Members of Phone: (03) 8620 2392
Vince FitzGerald
Douglas Graham
Sidney & Fiona Myer
Yvonne Perret
No consultants were engaged at an individual Parliament and the public on request (subject Email: information@ngv.vic.gov.au
Merran Kelsall
Richard & Andrea King
Andrew & Judy Rogers
Adrienne Shaw
cost in excess of $100,000 (excluding GST). to the freedom of information requirements, if
Angela Ndalianis
Elizabeth Loftus
Lyn Williams AM
applicable):
Maudie Palmer AO
Robin Matthews
Robyn Burke
Supporters of Decorative Arts
NATIONAL COMPETITION POLICY
• a statement that declarations of pecuniary
Maureen Plavsic
Frank Nadinic
Andrea Candiani
Peter & Ivanka Canet
The NGV is committed to neutrality principles interests have been duly completed by all
Sally Smart
Bruno Charlesworth
Andrew Dixon
ensuring fair and open competition. Many noncore
relevant officers of the NGV;
Thomas Rubie Purcell Bequest Rebecca Clark
Ron & Sally Hood
activities such as cleaning, engineering, • details of shares held by senior officers as
Lisa Sassella
Laurence Cox AO & Julie Ann Cox Diana Morgan
security and food and beverage services have nominee or held beneficially in a statutory
William Stevens
Harry & Susan Curtis
Lisette Stracke
been outsourced through open and competitive authority or subsidiary;
Eva Sweet
Janne Faulkner AM & Bill Faulkner
tender processes.
Peter & Mary Tallis
Diana Fletcher

Decorative Arts
Acquisition Fund
Primrose Bright
Peter & Ivanka Canet
Giles Hunt
Supporters of Indigenous Art
Peter & Carolyn Berger
Leon & Judith Gorr
Tarcisio & Delma Valmorbida
Catherine Allen
Christine Collingwood
Sponsors
Amanda Frith
Juliana Hooper
Jim Cousins AO & Libby Cousins
100 101
Vivien Knowles
Tony & Ann Hyams
Alan & Mavourneen Cowen
William Nuttall & Annette Reeves
Peter & Angelika Zangmeister
Fiona Brockhoff
Stephen & Jenny Charles
Kevin & Margaret Collecutt
Jim Cousins AO & Libby Cousins
Colin & Debbie Golvan
Angela Gunn
Mossgreen Gallery
Harry & Leigh Rundle
Ricci Swart
Tania Brougham
Margaret Bullen
Michael & Carol Casper
Nellie Castan
Terry Cutler
Andrzej & Grazyna Janczewski
Helen Kennan
Colin Laverty OAM &
Elizabeth Laverty
Pam McQueen
Roger Pitt & Deborah Bartlett Pitt
Arthur Roe
Hans Sip
Anthony & Barbara Stolarek
David & Chris Alexander
Australian Decorative & Fine Arts
Society Inc (Sydney)
Angela Berry
Judy Buchan
Patrick Corrigan AM
Laurence Cox AO & Julie Ann Cox
L Gordon Darling AC CMG
Rodney Davis
Roderick Deane
Esther Frenkiel
Jane Guy
Raymond & Mary Hind
Julie Kantor
Anthony & Beverly Knight
Catherine Lewis
Diana Morgan
Rae Rothfield
Steve Rothfield
Lou Senini
Michael Wright
Indigenous Art
Acquisition Fund
Rosie Brennan
Rosalie Freeman
Lilly Harris
Jacqueline Healy
Bernice Stub
Support for NGV Conservation
Susan Morgan
Hugh D T Williamson Foundation
Other
Geoffrey Bartlett
Michael Buxton
Peter Clemenger AM &
Joan Clemenger
Ian George
ANNUAL DINNER 2008
We thank those who generously
supported our Annual Dinner
Ross Adler AC & Fiona Adler
ANZ Private Bank
David Bardas
Lewis & Sally Bell
Terry Campbell AO
Steve & Mary Chiodo
Peter Clemenger AM &
Joan Clemenger
Peter & Tracey Cooper
Mary Crean AM
John & Rose Downer
Peter & Monica Edwards
Vince FitzGerald
Sir James Gobbo AC &
Lady Gobbo
Elizabeth Grainger
Sir Andrew Grimwade CBE &
Lady Grimwade
John & Anne Grindrod
Rino Grollo &
Diana Ruzzene-Grollo
Jean Hadges
Michael & Susie Hamson
Mary Anne Hartley
Ian Hicks AM
Alison Inglis
Barbara Inglis
Will Jones
Elias Jreissati
James & Diana Kimpton
Zara Kimpton
James & Alison Leslie
Lew Foundation
Patricia McKenzie
Beatrice Moignard
Des & Felicity Moore
Lynton & Susan Morgan
Sandy & Sandra Murdoch
Martyn & Louise Myer
Sidney & Fiona Myer
Ray & Mary Lou Orloff
Bruce Parncutt & Robin Campbell
Ross & Pam Paton
John & Suzanne Playfoot
Dug & Lisa Pomeroy
Lady Potter AC
Anthony & Elizabeth Rayward
Philip Ross &
Sophia Pavlovski-Ross
Andrew & Tracey Sisson
Michael Stillwell & Jillian Woinarski
Ralph Ward-Ambler AM &
Barbara Ward-Ambler
Tony & Val Wenzel
Philip & Elizabeth Williams
NGV Partners
Lead Supporter Australian Art
NGV Supporters
Alcoa of Australia
Blue Star Print – Australia
Dulux Australia
Exhibition Support Sponsors
3AW
Abercrombie & Kent
Association of Independent Schools of Victoria
Catholic Education Office
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Development
Lead Supporter International Art
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Sofitel Melbourne on Collins
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Tourism Victoria
Victorian Curriculum and
Assessment Authority
Yarra Trams

Acquisitions
AUSTRALIAN ART
Aboriginal and Torres
Strait Islander Art
Gifts
Kantjupayi Benson (Ngaanyatjarra born c.
1933), Mt Aloyisius 2005, synthetic polymer
paint on canvas. Gift of Michael Moon, 2007
Karen Casey (Hobart born 1956) Allan
Mansell (Palawa born 1957) Janice Murray
102
(Tiwi born 1966) Pedro Wonaemirri (Tiwi Patrons of Indigenous Art, 2007
Art, 2007
Gwyn Hanssen Pigott (born Australia 1935,
Gareth Sansom (born Australia 1939),
#7 1992, from the Polymorphosis series
born 1973) Dulamari (Djalinda Yunupinigu)
lived in England 1958–65, France 1966–72),
1991–92, gelatin silver photographs;
Ricky Maynard (Big River/Ben Lomond born 103
(Gumatj born 1954) Dhuwarrwarr Marika
(Rirratjingu born c. 1946) Garry Namponan
(Wik-Alkan/Wik-Ngathan born 1960)
Leonie Pootchemuka (Wik-Alkan born
1962) Laurel Nannup (Binjareb/Nyoongar
born 1943) Christopher Pease (Minang/
Nyoongar born 1969), Duyfken (Little dove)
portfolio 2006, colour lithograph, lithograph,
photo-offset lithograph, colour etching,
aquatint, linocut, etching, lift-ground aquatint.
Presented by the Embassy of the Kingdom of
the Netherlands, 2007
Samantha Hobson (Kuuku ‘Ya’u born 1981),
Pukali (Wild bamboo) 1999; Stressed out
2000, synthetic polymer paint on canvas. Gift
of Andrew Baker, 2008
Reggie Jackson (Ngaanyatjarra
1935–2007), Ilurrpa 2004, synthetic polymer
paint on canvas. Gift of William James Irvine,
2007; Parrtjartanya 2005, synthetic polymer
paint on canvas. Gift of Michael Moon, 2007
Wally Mandarrk (Dangbon/Dalabon c.
1915–87), Hunters and lizard, earth pigments
on Stringybark. Presented by Mossgreen
Gallery, 2008
Anniebell Marnngamarrnga (Kuninjku born
1968), Yawkyawk 2007, earth pigments,
pandanus. Gift of Mark Chapman, 2008
Lyndsay Bird Mpetyan (Anmatyerr born
c. 1935), Angula country 1988, batik on
silk. Gift of Christopher Hodges and Helen
Eager, 2008
Rosella Namok (Aankum born 1979),
Ngaachi Kincha II (Bora ground) 2000,
synthetic polymer paint on canvas. Gift of
Andrew Baker, 2008
Kathleen Ngal (Anmatyerr born c. 1934),
Anekwetj Mwerrangkerr 2007, synthetic
polymer paint on canvas. Gift of Janet and
Donald Holt, 2008
Tiger Palpatja (Pitjantjatjara born c. 1920),
Wanampi creation story 2007, synthetic
polymer paint on canvas. Gift of Michael
Moon, 2008
Cliff Reid (Ngaanyatjarra born 1947), The
Seven Sisters 2004, synthetic polymer paint
on canvas. Gift of Michael Moon, 2007;
Yulpurru 2004; Minyma Tjirntu 2005, synthetic
polymer paint on canvas. Gift of Michael
Moon, 2008
Taracarijimo Freda Warlapinni (Tiwi born
c. 1923–2003), Pwoja–Pukumani body paint
design 2002, earth pigments on canvas. Gift
of Gabriella Roy, 2008
Yirrwala (Kunwinjku c. 1903–1976),
Mardayin ceremony (c. 1969), earth pigments
on Stringybark. Presented by Mossgreen
Gallery, 2008 Purchases
Vernon Ah Kee (Kuku Yalanji/Yidinyi/
Waanyi born 1967), self-portrait (possesses
some of the attributes of an artist 2007,
charcoal and synthetic polymer paint on
canvas. Purchased, Victorian Foundation for
Living Australian Artists, 2008
Brook Andrew (Wiradjuri born 1970), Gunmetal
grey 2007, screenprint in grey ink on
metallic foil and cotton, ed. 3/3. Purchased,
Victorian Foundation for Living Australian
Artists, 2007
Richard Bell (Jiman/Kooman/Kamilaroi/
Gurang Gurang born 1953), Little Johnny
2001, synthetic polymer paint on canvas.
Purchased, Victorian Foundation for Living
Australian Artists, 2008
Ngamaru Bidu (Manyjilyjarra born c. 1944),
Wikirri 2007, synthetic polymer paint on
canvas. Purchased, NGV Supporters and
Jakayu Biljabu (Manyjilyjarra born c. 1937),
Minyi Puru (Seven Sisters); Warrarnpa 2007,
synthetic polymer paint on canvas. Purchased,
NGV Supporters and Patrons of Indigenous
Art, 2007
Johnny Bulunbulun (Ganalbingu born 1946),
Bakarra 2007, etching, ed. 7/20; Body design
2007, etching and drypoint printed in brown
ink, ed. 8/20. Purchased, NGV Supporters
and Patrons of Indigenous Art, 2007
Robert Campbell Junior (Ngaku 1944–93),
Dorrigo Falls 1989, synthetic polymer paint
on canvas. Purchased, NGV Supporters and
Patrons of Indigenous Art, 2007
Craig Charles (Yorta Yorta born 1975), Nan
and pop’s campfire kitchen 2007, synthetic
polymer paint and gold leaf on canvas.
Purchased with funds donated by Judith
and Leon Gorr as the winner of the NGV
acquisitive Prize in conjunction with the
Victorian Indigenous Art Awards, 2007
Nici Cumpston (Barkindji born 1963),
Flooded Gum, Katarapko Creek, Murray
River National Park 2007; Nookamka – Lake
Bonney; Tree stumps, western shoreline –
Nookamka 2007, watercolour and pencil on
colour inkjet print on canvas. Purchased,
Victorian Foundation for Living Australian
Artists, 2008
Julie Dowling (Widi/Noongar born 1969),
Goodbye white fella religion 1992, synthetic
polymer paint, earth pigments and blood on
canvas. Purchased, NGV Foundation, 2007
Milly Kelly (Warnman c.1935), Waru at
Puntawarri 2007, synthetic polymer paint
on canvas. Purchased, NGV Supporters and
Patrons of Indigenous Art, 2007
Kay Lindjuwanga (Kuninjku born 1957),
Mardayin at Dilebang 2006, etching, ed.
12/20; Billabong at Milimilngkan 2007,
etching printed in brown ink, ed. 11/20.
Purchased, NGV Supporters and Patrons of
Indigenous Art, 2007
Birmuyingathi Maali Netta Loogatha
(Kayardild born 1942) Mirdidingkingathi
Jurwunda Sally Gabori (Kayardild
born 1924) Warthadangathi Bijarrba
Ethel Thomas (Kayardild born 1946)
Thunduyingathi Bijarrb May Moodoonuthi
(Kayardild born 1929) Kuruwarriyingathi
Bijarrb Paula Paul (Kayardild born 1937)
Wirrngajingathi Bijarrb Dawn Naranatjil
(Kayardild born 1935)
Rayarriwarrtharrbayingat Amy Loogatha
(Kayardild born 1946), Dulka Warngiid 2007,
synthetic polymer paint on canvas. Purchased
with funds donated by Catherine Allen,
Carolyn Berger and Delma Valmorbida, 2007
Mulyatinki Marney (Manyjilyjarra born c.
1941), Kuwin; Ninyiri Juru (I was born here)
2007, synthetic polymer paint on canvas.
Purchased, NGV Supporters and Patrons of
Indigenous Art, 2007
Dickie Minyintiri (Pitjantjatjara born c. 1915),
Tjukula Tjuta (Waterholes) 2005, synthetic
polymer paint on canvas. Purchased, NGV
Supporters and Patrons of Indigenous
Kate Miwulku (Ndjébbana born 1950),
Borlangunngun 2004, etching printed in
copper ink, ed. 29/30; Dilly bag 2007, etching
printed in black and brown ink, ed. 12/20.
Purchased, NGV Supporters and Patrons of
Indigenous Art, 2007
Lena Skinner Ngal (Anmatyerr, born c.
1930), Untitled 2007, batik on silk. Purchased,
NGV Supporters of Indigenous Art, 2008
Nora Wompi Nungurrayi (Kukatja born
1935), Kunawarritji 2007, synthetic polymer
paint on canvas. Purchased, NGV Supporters
and Patrons of Indigenous Art, 2007
Tiger Palpatja (Pitjantjatjara born c. 1920),
Wanampi creation story 2007, synthetic
polymer paint on canvas. Purchased, NGV
Supporters and Patrons of Indigenous
Art, 2007
Myrtle Petyarr (Anmatyerre born c. 1943),
Untitled 2007, batik on silk. Purchased, NGV
Supporters of Indigenous Art, 2008
Dada Samson (Kartujarra born c. 1933),
Rabbit-proof fence 2007, synthetic polymer
paint on canvas. Purchased, NGV Supporters
and Patrons of Indigenous Art, 2007
Eileen Yaritja Stevens (Pitjantjatjara c.
1919–2008), Piltati 2006, synthetic polymer
paint on canvas. Purchased, NGV Supporters
and Patrons of Indigenous Art, 2007; Piltati
2006, synthetic polymer paint on canvas.
Purchased, NGV Supporters of Indigenous
Art, 2008
Muuki Taylor (Manyjilyjarra born 1945), Paru,
Walpet Road, Kunawarritji Road, Mulakir Road
2007, synthetic polymer paint on canvas.
Purchased, NGV Supporters and Patrons of
Indigenous Art, 2007
Tjapaltjarri, Rockholes and country near
The Olgas 2007, synthetic polymer paint
on canvas. Purchased, NGV Supporters of
Indigenous Art, 2008
Unknown, Broad shield (19th century), wood,
cane. The Evans Collection of Aboriginal
Shields. Purchased with the assistance
of a special grant from the Government of
Victoria, 2008
Mabel Wakarta (Warnman born c. 1920),
Yirrajarra 2007, synthetic polymer paint on
canvas. Purchased, NGV Supporters and
Patrons of Indigenous Art, 2007
Terry Ngamandara Wilson (Gun-nartpa born
c. 1952), Gauchalan at waterhole; Gulach
2007, etching printed in brown ink, ed. 6/20;
Waterhole at Barlparnarra 2007, etching
printed in brown and black ink, ed. 7/20.
Purchased, NGV Supporters and Patrons of
Indigenous Art, 2007
Australian Ceramics
Gifts
Ann Geroe (born England 1934, arrived
Australia 1949), Imperial yellow glaze bowl;
Sang de Boeuf bowl (2002), porcelain. Gift of
Louise Smith, 2008
H. R. Hughan (Australia 1893–1987), Dish
(1945–50), stoneware. Gift of Gwyn Hanssen
Pigott OAM, 2008
Purchases
Still life with seven bottles (2005), porcelain.
Purchased, Victorian Foundation for Living
Australian Artists, 2008
Titania Henderson (born the Netherlands
1945, arrived Australia 1956), Untitled 16
(2005), porcelain, porcelain (bone china);
Untitled 9 (2006), porcelain (bone china).
Kenneth Hood Bequest Fund, 2007
Australian Fashion
and Textiles
Gifts
Breathless fashion house (est. 1998)
Rebecca Paterson designer (Australia born
1952), Top and skirt 2002, cotton, metal. Gift
of the artist, 2008
Brighid Lehmann, Melbourne fashion
house (1983–90) Brighid Lehmann
designer (born Hong Kong 1964, arrived
Australia 1966), Suit 1984 summer, linen,
metal; Suit 1986 winter, wool, cotton, metal.
Gift of the artist, 2007
Olga Dawson designer and maker (Australia
1900–72), Outfit; comprising coat, ball gown
and underdress 1956, silk (taffeta), cotton
(organza), metal. Gift of Janet Dawson in
memory of her mother Olga Dawson, 2008
Lucas, Ballarat fashion house (1888–1968)
Pierre Cardin designer (born Italy 1922,
lived in France 1926–), Coat 1960, rayon, silk,
acetate. Gift of Ruth Wrexler, 2008
Martin Grant, Paris fashion house (est.
1992) Martin Grant designer (born Australia
1966, lived in France 1991–), Anna coat
2005–06 autumn-winter, wool, mohair,
silk (grosgrain), polyester; Black shirt dress
2005–06 autumn-winter, wool; Liz dress
2005–06 autumn-winter, silk, cotton,
polyester. Gift of the artist, 2007
Martin Grant Studios, Melbourne fashion
house (1982–89) Martin Grant designer
(born Australia 1966, lived in France
1991–), Outfit comprising black wool jacket
and trousers, white linen shirt (c. 1985),
wool, plastic, linen, mother-of-pearl. Gift of
Emmanuel Hirsh, 2008; Jacket (c. 1986), wool
, polyester; Shirt (c. 1986), polyester, motherof-pearl.
Gift of Robert Buckingham, 2007
Purchases
Beril Jents, Sydney fashion house
(1944–86) Beril Jents designer (born
Australia 1918), Evening dress and stole (c.
1955), silk (chiffon), organdie, metal, plastic,
synthetic fibre, cellophane. Purchased NGV
Foundation, 2008
Roger Kemp (Australia 1908–37)
Victorian Tapestry Workshop, Melbourne
manufacturer (est. 1976), Abstract structure
2007, wool, cotton. Commissioned, NGV
Foundation with funds donated by Dame
Elisabeth Murdoch, 2007
Lucy Secor, Melbourne fashion house
(1922– 80s), Outfit comprising bolero and
day dress (c. 1950), cotton. Purchased NGV
Foundation, 2008
Material By Product, Melbourne fashion
house (est. 2004) Chantal McDonald
designer (born Australia 1976) Susan
Dimasi designer (born Australia 1973),
Outfit comprising couture excesses 2007–08
autumn-winter, Soft hard harder collection,
wool, viscose, cotton, paint, metal and
plastic; Semi-punch out dress 2007–08
autumn-winter, Soft hard harder collection,
wool, viscose, cotton, elastane. Purchased,
Victorian Foundation for Living Australian
Artists, 2007
Miss Hartnell, Melbourne fashion house
(c. 1965– c. 1973) Brian Samuels designer
(active in Australia 1960s), Wedding
dress 1969, wool, cotton, polyester, metal.
Purchased NGV Foundation, 2007
Australian Furniture
and Woodwork
Gifts
Schulim Krimper (born Austro-Hungarian
Empire 1893, lived in Germany (1920s)–1938,
arrived Australia 1939, died 1971), Screen (c.
1961), teak (Tectona grandis), brass. Gift of
Judy Arndt and Shirley Klebaner in memory of
Ralph and Erna Winton, 2008
Unknown, Tom Roberts’ painting stool (late
19th century), wood, leather, copper, (other
materials). Gift of Barbara Tucker, 2008
Australian Jewellery
Purchases
Carlier Makigawa (born Australia 1952),
Neckpiece (2007), sterling silver. Purchased,
Victorian Foundation for Living Australian
Artists, 2007
Australian Multimedia
Purchases
Daniel von Sturmer (born New Zealand,
arrived Australia 1993), Tableaux plastique
(Sequence 2) 2008, colour high definition
mpeg2 video file transferred to media player,
silent, LCD monitor, ed. 2/3, 2 min 55 sec;
Tableaux plastique (Sequence 3) 2008, colour
high definition mpeg2 video file transferred
to media player, silent, LCD monitor, ed. 2/3,
20 min 16 sec; Tableaux plastique (Sequence
8) 2008, colour high definition mpeg2 video
file transferred to media player, silent, LCD
monitor, ed. 2/3, 2 min 6 sec. Purchased,
Victorian Foundation for Living Australian
Artists, 2008
Judith Wright (born Australia 1945), One
dances (2003), colour digital betacam, sound,
15 min 23 sec, edition of 6; Conversations
with the mother (2004), colour digital
betacam, sound, 5 min, edition of 6; In praise
of darkness: Conversations with the father
(2006), colour digital betacam, sound, 12 min
50 sec, edition of 6; Between (2007), colour
digital betacam, sound, 8 min, edition of 5;
The stagers 2008, colour digital betacam,
sound, 6 min, edition of 6. Purchased,
Victorian Foundation for Living Australian
Artists, 2008
Australian Painting
Gifts
John Brack (Australia 1920–99) Flowers
(Shasta daisies) 1959, oil on composition
board. Gift of Frank and Yvonne
Nicholls, 2008
Clarice Beckett (Australia 1887–1935)
(Phillip Island from San Remo) (c. 1930–33),
oil on cardboard. Gift of Jennifer Rogers in
memory of her father Ron Lilburne, 2008
Brent Harris (born New Zealand 1956,
arrived Australia 1981), Lands end II 1988, oil
on canvas. Gift of Lauraine Diggins, 2008
Kenneth Hood (Australia 1928–2002),
Abstract — grey and white 1958, oil on
composition board. Gift of Frank and Yvonne
Nicholls, 2008
Erica McGilchrist (born Australia 1926),
(Organic abstraction) 1959, oil on composition
board. Gift of Frank and Yvonne Nicholls, 2008
Justin O’Brien (born Australia 1917, lived in
Italy 1967–96, died 1996), Peter Hatsatouris
(1957), oil on composition board. Bequest of
George Mitchell, 2008
Junior’s brush with Vorticism 2007, oil
and enamel on canvas. Presented by
NGV Members as the winner of the John
McCaughey Memorial Prize, 2008
Edwin Tanner (born Wales 1920, arrived
Australia 1923, died 1980), The fashion
1955, oil on canvas. Gift of Frank and Yvonne
Nicholls, 2008
Blair Trethowan (Australia 1974–2006),
Sweating logos (2000), synthetic polymer
paint and pencil on paper on composition
board. Gift of William Nuttall, 2008
Purchases
Vivienne Binns (born Australia 1940), A
symphony of uncertainties: In memory of
unknown artists and scenes of popular reverie
2005–07, synthetic polymer paint on canvas.
Purchased, Victorian Foundation for Living
Australian Artists, 2008
Helen Geier (born Australia 1946, lived in
England 1970–73), A world away 2006 from
the Elements series 2006, oil on canvas.
Purchased with funds donated by the Vivien
Knowles Fund for Contemporary Art, 2007
Neil Haddon (born England 1967, lived in
Spain 1990–96, arrived Australia 1996),
Vestigial (40) 2007, enamel paint on
aluminium. Purchased, Victorian Foundation
for Living Australian Artists, 2008
David Jolly (born Australia 1972), Cinema
(2007); Screen 3 (2008), oil on glass.
Purchased, Victorian Foundation for Living
Australian Artists, 2008
Richard Lewer (born New Zealand 1970,
arrived Australia 1997), I’ll be watching
you 2007, synthetic polymer paint on felt
on plywood, metal. Purchased, Victorian
Foundation for Living Australian Artists, 2008
Stieg Persson (born Australia 1959),
Sinister 2006, oil and alkyd resin on canvas.
Purchased, Victorian Foundation for Living
Australian Artists, 2008
Margaret Preston (Australia 1875–1963,
lived in Europe 1904–07, 1912–19),
Shoalhaven Gorge, New South Wales (c.
1940–41), oil and gouache on canvas.
Purchased with funds donated from the
Estate of Dr Donald Wright, 2008
Adam Pyett (born Australia 1973), Narcissus
2006; Sunflowers 2007, oil on canvas.
Purchased with funds donated by the Vivien
Knowles Fund for Contemporary Art, 2007
Mary Scott (born Australia 1957), Half
light; If only for an hour 2006, oil on canvas.
Purchased with funds donated by the Vivien
Knowles Fund for Contemporary Art, 2007
David Thomas (born Northern Ireland
1951, arrived Australia 1958), Amid history 2
(Large version) 2006, enamel paint on type C
photograph on aluminium and plastic; Green
and black reflection painting 2007, enamel
paint and synthetic polymer paint on canvas.
Purchased, Victorian Foundation for Living
Australian Artists, 2007
Imants Tillers (born Australia 1950),
Melancholy landscape I (2007), synthetic
polymer paint, metallic paint and gouache
on canvasboards. Purchased, Victorian
Foundation for Living Australian Artists, 2008
John Young (born Hong Kong 1956, arrived
Australia 1967), AD 706, summer/autumn
(2006) from the Painting for spirits series
2005–, colour digital print and oil on canvas.
Purchased with funds donated by Fiona and
Sidney Myer and The Myer Foundation, 2007
Australian Photography
Gifts
Christl Berg (born Germany 1944, lived
in India 1970–84, arrived Australia 1984),
Untitled sequence 1991–92; Polymorphosis
#5; Polymorphosis #6; Polymorphosis
Voices from the kitchen 2007, gelatin silver
photograms. Gift of the artist, 2008
Nicholas Caire (born Channel Islands 1837,
arrived Australia 1858, died 1918), Botanical
Gardens; Three sisters; View of the Yarra River
(c. 1900), gelatin silver photograph. Gift from
the Estate of Edna Bennett, 2007
Rennie Ellis (Australia 1940–2003), The Bee
Gees, Kings Cross (1970–71); Night people
(1975) from the Heroes and anti-heroes series
1976; Cannabis stall Prahran (1976), gelatin
silver photograph. Gift of Kay McKenzie, 2008
Ricky Maynard (Big River/Ben Lomond born
1953), Wik Elder, Gladys (2000) from the
Returning to places that name us series 2000,
gelatin silver photograph. Gift of Milton and
Penny Harris, 2007
Harry Nankin (born Australia 1953),
Fragment 2: The first wave; Fragment 5:
The first wave; Fragment 6: The first wave;
Fragment 7: The first wave; Fragment 8:
The first wave; Fragment 9: The first wave;
Fragment 10: The first wave; Fragment 11:
The first wave Fragment 13: The first wave;
Fragment 14: The first wave; Fragment 15:
The first wave; Fragment 16: The first wave;
Fragment 17: The first wave; Fragment 18:
The first wave; Fragment 19: The first wave;
Fragment 20: The first wave; Fragment 22:
The first wave; Fragment 23: The first wave
1996; Fragment 3: The third wave; Fragment
4: The third wave; Fragment 5: The third wave;
Fragment 6: The third wave; Fragment 7:
The third wave; Fragment 8: The third wave;
Fragment 10: The third wave; Fragment 12:
The third wave; Fragment 13: The third wave;
Fragment 14: The third wave; Fragment 15:
The third wave; Fragment 16: The third wave;
Fragment 17: The third wave; Fragment 18:
The third wave; Fragment 19: The third wave;
Fragment 20: The third wave; Fragment 3:
The fifth wave; Fragment 4: The fifth wave;
Fragment 7: The fifth wave; Fragment 11:
The fifth wave; Fragment 12: The fifth wave;
Fragment 13: The fifth wave; Fragment 14:
The fifth wave; Fragment 15: The fifth wave;
Fragment 16: The fifth wave; Fragment
17: The fifth wave 1997 from THE WAVE
Theoria Sacra Undarum (The sacred theory
of the wave) series 1996–97, gelatin silver
photogram. Gift of the artist, 2007
Sonia Payes (born Australia 1956), James
Gleeson 2006, from the Portraits series
2005–06, type C photograph. Gift of Charles
Nodrum, 2007
Purchases
J. W. Beattie (born Scotland 1859, arrived
Australia 1878, died 1930), No Title (Roald
Amundsen’s ship in Hobart, after the first
successful expedition to Antarctica) 1912,
albumen silver photograph. Purchased NGV
Foundation, 2007
Robyn Beeche (Australian 1945–), Boys
dressed as Krishna & Balaram celebrate
Gopasthami festival, Vrindavan 1988, printed
2007; Holi festival on Rang Bhari Ekadashi,
Vrindavan; Holi festival on Rang Bhari
Ekadash, Vrindavan 1989, printed 2007; Sri
Radharaman Mandir, Phul Bangala offered on
Ekadashi, Vrindavan 1992, printed 2007; Holi
festival at Dauji Temple, Baladev, Vrindavan
2004, printed 2007, type C photograph.
Purchased NGV Foundation, 2007
Pat Brassington (born Australia 1942),
House guest #1; House guest #2 (2007),
colour inkjet print. Purchased, Victorian
Foundation for Living Australian Artists, 2007
Penelope Davis (born Australia 1963), Nonfiction
(red); Shelf (2008) from the fiction-nonfiction
series 2007–08, type C photograph.
Purchased, Victorian Foundation for Living
Australian Artists, 2008
1953), Wik Elder, Arthur (2000) from the
Returning to places that name us series 2000,
gelatin silver photograph. Purchased, NGV
Supporters of Indigenous Art, 2008
Graham Miller (born Hong Kong 1966,
arrived Australia 1977), Alice 2005; Frank;
Robert 2006; Aina; Rhonda and Chantelle
2007 from the Suburban splendor series
2005–07, colour inkjet print. Purchased,
Victorian Foundation for Living Australian
Artists, 2008
Harry Nankin (born Australia 1953), Of Great
Western tears / Duet 2 2006 from The rain
series 2006–07, gelatin silver photograms.
Purchased NGV Foundation, 2007
Simon Obarzanek (born Israel 1968,
arrived Australia 1974, lived in United States
1995–2001), 10pm – 1am #1; 10pm – 1am
#2; 10pm – 1am #7 (2007) from the 10pm
– 1am series 2007, type C photograph.
Purchased, Victorian Foundation for Living
Australian Artists, 2007
Unknown, No title (Group of people in front
of a crushing plant on a goldfield) (1860s),
ambrotype, embossed leather, wood, velvet,
brass, gilt-metal (case). Purchased NGV
Foundation, 2007
Charles Woolley (Australia 1834–1922)
Charles Woolley, attributed to (Australia
1834–1922), No title (Truganini) and No title
(Shot tower, Taroona, Tasmania), locket (c.
1866–70s), albumen silver photograph, glass,
gold. Purchased NGV Foundation, 2007
Australian Prints
and Drawings
Books — Gifts
Ian Burn (Australia 1939–93) Mel
Ramsden (born England 1944, lived in
Australia 1963–64, United States 1967–79),
Collected works, 1964–71 (1971), artist’s
book: black and white photocopy, 102 pages,
plastic cover, rivet binding. Gift of Robert
Rooney, 2008
Anne Paulson (born England 1808, arrived
Australia 1858, died 1866), Sketches (of
Victorian bush flowers) 1859–61, sketchbook:
watercolour, iron gall ink and pencil, 75 pages,
leather binding. Gift of Kay Rodda, 2008
Robert Rooney editor (born Australia 1937),
Pinocotheca magazine (c. 1971), periodical
publication: black and white photocopy, 43
pages, yellow card cover, staple binding. Gift
of the artist, 2008
Robert Rooney (born Australia 1937),
Words and phrases in inverted commas from
the collected works of IBMR, revised edition.
January 1972 (1972), artist’s book: black and
white photocopy, 6 pages, white card cover,
plastic strip binding. Gift of the artist, 2008

104 105
Books — Purchases
Joseph Lycett (English1774/75–1828,
worked in Australia 1814–22), Views of
Australia or New South Wales & Van Diemen’s
Land, delineated in fifty views… 1824–25,
album: hand-coloured aquatints and etchings,
hand-coloured aquatints and etchings
printed in blue ink, letterpress, engravings,
108 pages, glued and stitched binding,
leather cover with gold tooling. Joe White
Bequest, 2008
Drawings — Gifts
Rick Amor (born Australia 1948), Study for
variable landscape Study for walking by the
sea 2003, watercolour. Commemorating 100
years of the Felton Bequest 1904–2004.
Felton Bequest, 2004
John Brack (Australia 1920–99), Study for
The chase (1959), crayon. Gift of Frank and
Yvonne Nicholls, 2008
Ian Fairweather (born Scotland 1891, lived
in China 1929–36, Asia 1933–43, arrived
Australia 1934, died 1974), Woman (1949),
pen and brush and ink and wash. The Ian
Brown Collection. Gift of the Reverend Ian
Brown, 2008
Peter Corlett (born Australia 1944),
Alfred Felton studies; First concept – Alfred
Felton; (Preliminary drawing for a centenary
sculpture of Alfred Felton); (Preliminary
drawing for a centenary sculpture of Alfred
Felton); (Preliminary drawing for a centenary
sculpture of Alfred Felton) 2003, pencil.
Commemorating 100 years of the Felton
Bequest 1904–2004. Felton Bequest, 2004
Thea Proctor (born Australia 1879, lived
in England 1903–12, 1914–21,died 1966),
1875 (c. 1924), watercolour, gouache and
graphite on paper on cardboard. Gift of Sam
Masters, 2008
Charles Robb (born Australia 1971), A
centenary sculpture of Alfred Felton: Concept
design 1; A centenary sculpture of Alfred
Felton: Concept design 1; A centenary
sculpture of Alfred Felton: Concept design
2; A centenary sculpture of Alfred Felton:
Concept design 2; A centenary sculpture of
Alfred Felton: Concept design 3; A centenary
sculpture of Alfred Felton: Concept design 3
(2003), pencil. Commemorating 100 years
of the Felton Bequest 1904–2004. Felton
Bequest, 2004
Eveline Syme (born England, lived in Europe
1923–31, died 1961), (Leaping figure)
(1929–32); (Reclining model seen from
behind) (1920s), pencil. Gift from the Estate
of Anne Montgomery, 2008
Jessie C. A. Traill (Australia 1881–1967),
View of the Gulf of Carpentaria 1936,
watercolour. Bequest of Prudence
Sheil, 2008
Drawings — Purchases
Sandra Selig (born Australia 1972), No.
52; No. 54; No. 56; No. 58; No. 59; No. 63
2007 from the Universes series 2006–,
enamel paint on spider’s web on black paper.
Purchased with funds donated by the Vivien
Knowles Fund for Contemporary Art, 2007
Unknown, Portrait of Ann Eliza O’Mullane
(mid–late 1850s); Portrait of Dr Arthur
O’Mullane (1850s); Portrait of Mrs Maria
Elizabeth O’Mullane (1870s), watercolour and
gouache on ivory, gilt frame. The Warren Clark
Bequest, 2007
Judith Wright (born Australia 1945), Breathe
1997, synthetic polymer paint and wax on
Japanese paper. Purchased with funds
donated by The Docking Drawing Fund
(NGV), 2008
Prints — Gifts
Clive Murray-White (born England 1946,
arrived Australia 1959), Alfred Felton:
Concept designs; The Alfred Felton sculpture:
Plinth design 2 (2003), computer generated
colour inkjet print. Commemorating 100 years
of the Felton Bequest 1904–2004. Felton
Bequest, 2004
Margaret Preston (Australia 1875–1963,
lived in Europe 1904–07, 1912–19),
Kookaburras (c .1923), hand-coloured
woodcut. The Ian Brown Collection. Gift of the
Reverend Ian Brown, 2008
Fred Williams (Australia 1927–82, lived in
England 1951–56), Forest (1958), etching,
aquatint and engraving printed in black-sepia
ink (on copper), JM170, 1st of 4 states, proof
C; Forest (1958), etching, aquatint and
engraving printed in black-sepia ink (on
copper), JM170, 2nd of 4 states, proof A;
Forest (1958), etching, aquatint and engraving
printed in sepia ink (on copper), JM170, 2nd of
4 states, proof C; Forest (1958), etching,
aquatint and engraving (on copper), JM170,
3rd of 4 states, proof A; Gum tree (1958),
aquatint, engraving, rough biting and drypoint
(on copper), JM168, 1st of 4 states, proof A;
Gum tree (1958), aquatint, engraving, rough
biting and drypoint (on copper), JM168, 2nd
of 4 states, proof A; Gum tree (1958),
aquatint, engraving, rough biting and drypoint
(on copper), JM168, 3rd of 4 states, ed. 2/10;
Gum tree (1958), aquatint, engraving, rough
biting and drypoint (on copper), JM168, 3rd of
4 states, ed. 8/10; Gum tree (1958), aquatint,
engraving, rough biting and drypoint (on
copper), JM168, 4th of 4 states, ed. 5/9; Gum
tree (1958), aquatint, engraving, rough biting
and drypoint (on copper), JM168, 4th of 4
states, ed. 9/9; Gum trees at Colo Vale
(1958), etching, aquatint, engraving and
drypoint (on copper), JM169, 1st of 2 states,
proof A; Mittagong (1958), etching, JM166,
unique state, ed. 1/15; Mittagong (1958),
etching, JM166, unique state, ed. 5/6; Red
trees (1958), etching, aquatint, engraving,
drypoint and flat biting (on copper), JM171,
1st of 3 states, ed. 1/9; Red trees (1958),
etching, aquatint, engraving, drypoint and flat
biting printed in sepia ink (on copper), JM171,
2nd of 3 states, ed. 6/14-2; Red trees (1958),
etching, aquatint, engraving, drypoint and flat
biting (on copper), JM171, 3rd of 3 states,
counterproof 1/8; Red trees (1958), etching,
aquatint, engraving, drypoint and flat biting
(on copper), JM171, 3rd of 3 states,
counterproof 4/8; Rocks and bush, Mittagong
(1958), flat biting, aquatint, engraving and
drypoint (on copper), JM167, 2nd of 4 states,
proof A; Rocks and bush, Mittagong (1958),
flat biting, aquatint, engraving and drypoint
(on copper), JM167, 3rd of 4 states, proof A;
Rocks and bush, Mittagong (1958), flat biting,
aquatint, engraving and drypoint (on copper),
JM167, 4th of 4 states, ed. 1/18; Saplings,
Mittagong (1958), flat biting over lithographic
crayon, aquatint, engraving, drypoint and
scraper (on copper), JM179, 1st of of 4 states,
proof A; Saplings, Mittagong (1958), flat biting
over lithographic crayon, aquatint, engraving,
drypoint and scraper (on copper), JM179, 4th
of 4 states, ed. 1/14; Saplings, Mittagong
(1958), flat biting over lithographic crayon,
aquatint, engraving, drypoint and scraper (on
copper), JM179, 4th of 4 states, ed. 8/14;
Burning log (1958–59), aquatint, engraving,
etching and drypoint (on copper), JM172, 1st
of 3 states, proof A; Hill at Colo Vale
(1958–59), aquatint, engraving, drypoint and
flat biting (on copper), JM173, unique state,
ed. 12/22; Landscape with a steep road
(1959), aquatint, etching, drypoint, engraving
and rough biting (on copper), JM174, 3rd of 5
states, ed. 6/8; Landscape with a steep road
(1959), aquatint, etching, drypoint, engraving
and rough biting (on copper), JM174, 4th of 5
states, proof B; The forest pond (1959–60),
etching, aquatint, engraving and drypoint (on
copper), JM177, 4th of 4 states, ed. 5/25; The
forest pond (1959–60), etching, aquatint,
engraving and drypoint (on copper), JM177,
4th of 4 states, ed. 19/25; The forest pond
(1959–60), etching, aquatint, engraving and
drypoint (on copper), JM177, proof;
Landscape with a building (1959–60),
aquatint, etching, drypoint, engraving and flat
biting (on copper), JM178, 2nd of 3 states, ed.
3/12; Landscape with a building (1959–60),
aquatint, etching, drypoint, engraving and flat
biting (on copper), JM178, 3rd of 3 states, ed.
9/16; Pond in Sherbrooke Forest (1959–60),
aquatint, etching, engraving, drypoint and
rough biting (on copper), JM175, 5th of 5
states, ed. 5/8; The St George River, Lorne
(1959–60), etching, aquatint, engraving and
drypoint (on copper), JM176, 2nd of 4 states,
proof A; The St George River, Lorne
(1959–60), etching, aquatint, engraving and
drypoint (on copper), JM176, 3rd of 4 states,
proof A; The St George River, Lorne
(1959–60), etching, aquatint, engraving and
drypoint (on copper), JM176, 4th of 4 states,
ed. 9/30; Waterfalls (1959–61), relief etching,
engraving and drypoint (on copper), JM180,
2nd of 4 states, proof A; Waterfalls
(1959–61), relief etching, engraving and
drypoint printed in sepia ink (on copper),
JM180, 3rd of 4 states, proof A; Echuca
landscape (1961), drypoint, engraving and
aquatint (on copper), JM185, 2nd of 16 states,
proof A; Echuca landscape (1961), drypoint,
engraving and aquatint (on copper), JM185,
10th of 16 states, proof A; Echuca landscape
(1961), drypoint, engraving and aquatint
printed in sepia ink (on copper), JM185, 15th
of 16 states, ed. 4/30-2; Echuca landscape
(1961), drypoint, engraving and aquatint (on
copper), JM185, 16th of 16 states, ed. 2/65;
The forest pond number 2 (1961), aquatint,
engraving and rough biting (on copper),
JM181, 3rd of 3 states, proof A; The forest
pond number 2 (1961), aquatint, engraving
and rough biting (on copper), JM181, 3rd of 3
states, ed. 2/8; Landscape (1961), aquatint,
engraving and flat biting touched with ink (on
zinc), JM188, 1st of 2 states, ed. 3/12;
Landscape (1961), aquatint, engraving and flat
biting (on zinc), JM188, 2nd of 2 states, ed.
1/12; Sandstone Hill number 1
(1961),aquatint, engraving and drypoint (on
copper), JM182, 1st of 2 states, ed. 10/20;
Sandstone Hill number 1 (1961), aquatint,
engraving and drypoint (on copper), JM182,
1st of 2 states, ed. 20/20; Sandstone Hill
number 1 (1961), aquatint, engraving and
drypoint printed in sepia ink (on copper),
JM182, 2nd of 2 states, ed. 1/30-2;
Sandstone Hill number 2 (1961), aquatint,
engraving, drypoint and rough biting (on
copper), JM183, 2nd of 3 states, ed. 2/10;
Sandstone Hill number 2 (1961), aquatint,
engraving, drypoint and rough biting (on
copper), JM183, 3rd of 3 states, proof A;
Sapling forest (1961), aquatint, engraving and
drypoint printed in sepia ink (on copper),
JM184, 1st of 4 states, proof A; Sapling forest
(1961), aquatint, engraving and drypoint
printed in sepia ink (on copper), JM184, 1st of
4 states, counterproof A; Sapling forest
(1961), aquatint, engraving and drypoint (on
copper), JM184, 1st of 4 states, counterproof
C; Sherbrooke Forest number 1 (1961),
engraving, aquatint and rough biting (on
copper), JM186, 6th of 23 states, proof A;
Sherbrooke Forest number 1 (1961),
engraving, aquatint and rough biting (on
copper), JM186, 10th of 23 states, ed. 2/20;
Sherbrooke Forest number 1 (1961),
engraving, aquatint and rough biting printed in
sepia ink (on copper), JM186, 23rd of 23
states, ed. 10/14; Sherbrooke Forest number
1 (1961), engraving, aquatint and rough biting
printed in brown ink (on copper), JM186, 23rd
of 23 states, ed. 6/35; Sherbrooke Forest
number 2 (1961), engraving and aquatint (on
copper), JM187, 2nd of 8 states, proof A;
Sherbrooke Forest number 2 (1961),
engraving and aquatint printed in sepia ink (on
copper), JM187, 4th of 8 states, edition: proof
A; Sherbrooke Forest number 2 (1961),
engraving and aquatint (on copper), JM187,
6th of 8 states, proof A; Sherbrooke Forest
number 2 (1961), engraving and aquatint (on
copper), JM187, 6th of 8 states, ed. 2/25;
Sherbrooke Forest number 2 (1961),
engraving and aquatint (on copper), JM187,
7th of 8 states, proof A; Sherbrooke Forest
number 2 (1961), engraving and aquatint (on
copper), JM187, 8th of 8 states, ed. 1/30;
Cosmos in the garden diptych (1962), etching,
aquatint, engraving and drypoint printed in
sepia ink (on two zinc plates), JM133, 2nd of 2
states, ed. 2/20; Cosmos in the garden
diptych, (right-hand panel) (1962), etching,
aquatint, engraving and drypoint (on zinc),
JM133A, only state, ed. 3/65; Fallen tree
(1962), etching, engraving, aquatint and
drypoint (on copper), JM192, 3rd of 4 states,
proof A; Forest at Almerton number 2 (1962),
aquatint, etching, engraving and drypoint (on
copper), JM190, 2nd of 4 states, proof A;
Forest at Almerton number 2 (1962), aquatint,
etching, engraving and drypoint (on copper),
JM190, 4th of 4 states, ed. 5/12; Forest at
Almerton number 2 (1962), aquatint, etching,
engraving and drypoint (on copper), JM190,
4th of 4 states, ed. 7/12; Kallista (1962), deep
etching and engraving (on zinc), JM193, only
state, ed. 19/24. Gift of Lyn Williams AM,
2007; Landscape diptych number 2 (1962),
sugar aquatint, engraving and drypoint printed
in sepia ink (on zinc), JM203, 7th of 9 states,
proof A; Landscape diptych number 3 (1962),
sugar aquatint, engraving and drypoint printed
in sepia ink, JM204, only state, ed. 8/15. Gift
of Lyn Williams AM, 2008; Landscape panel
number 1 (1962), sugar aquatint, engraving
and drypoint printed in sepia ink (on zinc),
JM200A, 1st of 3 states, ed. 4/30; Landscape
panel number 1 (1962), sugar aquatint,
engraving and drypoint (on zinc), JM200A,
3rd of 3 states, ed. 2/20; Landscape panel
number 1 (1962), sugar aquatint, engraving
and drypoint (on zinc), JM200A, 3rd of 3
states, ed. 6/20; Landscape panel number 2
(1962), sugar aquatint, engraving and drypoint
printed in sepia ink (on zinc), JM200B, 1st of
3 states, ed. 5/30; Landscape panel number 2
(1962), sugar aquatint, engraving and drypoint
(on zinc), JM200B, 3rd of 3 states, ed. 1/6;
Landscape panel number 2 (1962), sugar
aquatint, engraving and drypoint (on zinc),
JM200B, 3rd of 3 states, ed. 1/22;
Landscape panel number 2 (1962), sugar
aquatint, engraving and drypoint (on zinc),
JM200B, 3rd of 3 states, ed. 7/22;
Landscape panel number 2 (1962),sugar
aquatint, engraving and drypoint (on zinc),
JM200B, 3rd of 3 states, ed. 8/22;
Landscape panel number 2 (1962), sugar
aquatint, engraving and drypoint (on zinc),
JM200B, 3rd of 3 states, counterproof 1/16;
Landscape panel number 2 (1962), sugar
aquatint, engraving and drypoint (on zinc),
JM200B, 3rd of 3 states, counterproof 3/16;
Landscape panel number 3 (1962), sugar
aquatint, engraving and drypoint printed in
sepia ink (on zinc), JM200C, 2nd of 3 states,
proof B; Landscape panel number 3 (1962),
sugar aquatint, engraving and drypoint
touched with printing ink (on zinc), JM200C,
3rd of 3 states, proof A; Landscape panel
number 3 (1962), sugar aquatint, engraving
and drypoint (on zinc), JM200C, 3rd of 3
states, ed. 1/22; Landscape panel number 3
(1962), sugar aquatint, engraving and drypoint
(on zinc), JM200C, 3rd of 3 states, ed. 22/22;
Landscape panel number 3 (1962), sugar
aquatint, engraving and drypoint (on zinc),
JM200C, 3rd of 3 states, counterproof 6/6;
Landscape panel number 4 (1962), aquatint,
drypoint and engraving (on copper), JM201A,
2nd of 2 states, ed. 13/15; Landscape panel
number 4 (1962), aquatint, drypoint and
engraving (on copper), JM201A, 2nd of 2
states, ed. 15/15; Landscape panel number 5
(1962), aquatint, drypoint and engraving (on
copper), JM201B, 5th of 5 states, ed. 9/22;
Landscape panel number 5 (1962), aquatint,
drypoint and engraving (on copper), JM201B,
5th of 5 states, ed. 16/22; Landscape panel
number 6 (1962), aquatint, drypoint and
engraving (on copper), JM201C, 4th of 4
states, ed. 5/20; Landscape panel number 6
(1962), aquatint, drypoint and engraving (on
copper), JM201C, 4th of 4 states, ed. 16/20;
Landscape panel number 6 (1962), aquatint,
drypoint and engraving (on copper), JM201C,
4th of 4 states, ed. 20/20. Gift of Lyn
Williams AM, 2007; Landscape panel number
9 (1962), sugar aquatint, engraving and
drypoint printed in sepia ink (on zinc),
JM204A, only state, ed. 3/10; Landscape
panel number 10 (1962), aquatint, engraving,
drypoint and flat biting (on zinc) on grey paper,
JM205, 1st of 2 states, proof A; Landscape
panel number 10 (1962), aquatint, engraving,
drypoint and flat biting (on zinc) on grey paper,
JM205, 2nd of 2 states, ed. 6/24; Landscape
quartette (1962), sugar aquatint, resin
aquatint, engraving and drypoint (on copper
and zinc), JM202, 1st of 2 states, proof B;
Landscape quartette (1962), sugar aquatint,
resin aquatint, engraving and drypoint (on
copper and zinc), JM202, 2nd of 2 states, ed.
1/35. Gift of Lyn Williams AM, 2008;
Landscape triptych number 1 (1962), sugar
aquatint, engraving and drypoint printed in
sepia ink (on three zinc plates), JM200, 1st of
4 states, ed. 13/35; Landscape triptych
number 1 (1962), sugar aquatint, engraving
and drypoint (on three zinc plates), JM200,
4th of 4 states, proof B; Landscape triptych
number 1 (1962), sugar aquatint, engraving
and drypoint printed in sepia ink (on three zinc
plates), JM200, 4th of 4 states, ed. 2/8;
Landscape triptych number 2 (1962), aquatint,
engraving and drypoint printed in sepia ink (on
copper plates printed edge to edge), JM201,
2nd of 5 states, proof A; Landscape triptych
number 2 (1962), aquatint, engraving and
drypoint printed in sepia ink (on copper plates
printed edge to edge), JM201, 3rd of 5 states,
proof A; Landscape triptych number 2 (1962),
aquatint, engraving and drypoint printed in
sepia ink (on copper plates printed edge to
edge), JM201, 4th of 5 states, ed. 7/17;
Landscape triptych number 2 (1962), aquatint,
engraving and drypoint printed in sepia ink (on
copper plates printed edge to edge), JM201,
4th of 5 states, proof A; Landscape triptych
number 2 (1962),aquatint, engraving and
drypoint printed in sepia ink (on copper plates
printed edge to edge), JM201, 5th of 5 states,
ed. 4/25; Lilies (1962), aquatint, drypoint and
engraving (on copper), JM134, 2nd of 14
states, proof A; Lilies (1962), aquatint,
drypoint and engraving (on copper), JM134,
3rd of 14 states, proof A; Lilies (1962),
aquatint, drypoint and engraving (on copper),
JM134, 5th of 14 states, proof A; Lilies
(1962), aquatint, drypoint and engraving (on
copper), JM134, 6th of 14 states, proof A;
Lilies (1962), aquatint, drypoint and engraving
(on copper), JM134, 8th of 14 states, edition:
proof A; Lilies (1962), aquatint, drypoint and
engraving (on copper), JM134, 9th of 14
states, proof A; Lilies (1962), aquatint,
drypoint and engraving (on copper), JM134,
10th of 14 states, proof A; Lilies (1962),
aquatint, drypoint and engraving (on copper),
JM134, 12th of 14 states, proof A; Lilies
(1962), aquatint, drypoint and engraving (on
copper), JM134, 14th of 14 states, proof B;
Saplings (1962), aquatint, drypoint and
engraving (on copper), JM191, 1st of 9 states,
proof A; Saplings (1962), aquatint, drypoint
and engraving (on copper), JM191, 2nd of 9
states, proof A; Saplings (1962), aquatint,
drypoint and engraving (on copper), JM191,
3rd of 9 states, proof A; Saplings (1962),
aquatint, drypoint and engraving (on copper),
JM191, 4th of 9 states, ed. 2/5; Saplings
(1962), aquatint, drypoint and engraving (on
copper), JM191, 5th of 9 states, proof A;
Saplings (1962), aquatint, drypoint and
engraving (on copper), JM191, 6th of 9 states,
proof B; Saplings (1962), aquatint, drypoint
and engraving (on copper), JM191, 7th of 9
states, proof A; Saplings (1962), aquatint,
drypoint and engraving (on copper), JM191,
9th of 9 states, ed. 2/20; Saplings (1962),
aquatint, drypoint and engraving (on copper),
JM191, 9th of 9 states, ed. 18/20; Sherbrooke
Forest number 3 (1962), aquatint and
engraving (on zinc), JM194, 2nd of 4 states,
proof A; Sherbrooke Forest number 3 (1962),
aquatint and engraving (on zinc), JM194, 2nd
of 4 states, counterproof A; Sherbrooke Forest
number 3 (1962), aquatint and engraving
printed in sepia ink (on zinc), JM194, 4th of 4
states, proof A; Sherbrooke Forest number 3
(1962), aquatint and engraving printed in
sepia ink (on zinc), JM194, 4th of 4 states, ed.
1/20-2; Sherbrooke Forest number 4 (1962),
aquatint and engraving (on zinc), JM195, 3rd
of 3 states, ed. 6/9; Sherbrooke Forest
number 5 (1962), aquatint, drypoint, engraving
and flat biting (on zinc), JM196, 1st of 2
states, ed. 6/14; Sherbrooke Forest number 5
(1962), aquatint, drypoint, engraving and flat
biting (on zinc), JM196, 2nd of 2 states, proof
P; Sherbrooke Forest number 6 (1962),
drypoint, aquatint and engraving (on copper),
JM197, only state, ed. 8/18; Sherbrooke
Forest number 6 (1962), drypoint, aquatint
and engraving (on copper), JM197, only state,
proof B; Sherbrooke Forest number 8 (1962),
aquatint, etching, drypoint and engraving
printed in sepia ink (on brass), JM199, 1st of 4
states, proof A; Sherbrooke Forest number 8
(1962), aquatint, etching, drypoint and
engraving printed in sepia ink (on brass),
JM199, 4th of 4 states, ed. 1/15; Hakea
(1963), etching, aquatint, engraving and
drypoint printed in sepia ink (on zinc), JM135,
2nd of 5 states, proof A; Hakea
(1963),etching, aquatint, engraving and
drypoint (on zinc), JM135, 4th of 5 states,
proof A; Hakea (1963), etching, aquatint,
engraving and drypoint (on zinc), JM135, 5th
of 5 states, proof B; Hakea (1963), etching,
aquatint, engraving and drypoint (on zinc),
JM135, 5th of 5 states, proof C. Gift of Lyn
Williams AM, 2007; Knoll in the You Yangs
(1963–64), aquatint, engraving, drypoint,
deep etching and flat biting (on zinc), JM208,
14th of 18 states, proof B; You Yangs
landscape 1 (1963–64), aquatint, engraving
and drypoint printed in sepia ink (on copper),
JM206, 3rd of 5 states, proof B; You Yangs
landscape 1 (1963–64), aquatint, engraving
and drypoint printed in sepia ink (on copper),
JM206, 4th of 5 states, proof B; You Yangs
pond (1963–64), etching, aquatint, engraving
and drypoint (on copper), JM207, 1st of 8
states, proof A; You Yangs pond (1963–64),
etching, aquatint, engraving and drypoint (on
copper), JM207, 2nd of 8 states, proof B; You
Yangs pond (1963–64), etching, aquatint,
engraving and drypoint (on copper), JM207,
3rd of 8 states, proof A; You Yangs pond
(1963–64), etching, aquatint, engraving and
drypoint (on copper), JM207, 4th of 8 states,
ed. 11/20; You Yangs pond (1963–64),
etching, aquatint, engraving and drypoint (on
copper), JM207, 8th of 8 states, ed. 3/30; You
Yangs pond (1963–64), etching, aquatint,
engraving and drypoint (on copper), JM207,
8th of 8 states, proof A; You Yangs landscape
number 2 (1963–66), etching, engraving and
drypoint (on copper), JM209, 3rd of 5 states,
ed. 25/30; You Yangs landscape number 2
(1963–66), etching, engraving and drypoint
(on copper), JM209, 4th of 5 states, ed. 1/9;
You Yangs landscape number 3 (1963–66),
etching, drypoint, rough biting, flat biting and
mezzotint rocker (on copper), JM218, 3rd of 3
states, ed. 1/15; You Yangs landscape number
3 (1963–66), etching, drypoint, rough biting,
flat biting and mezzotint rocker (on copper) on
grey paper, JM218, 3rd of 3 states, ed. 2/15;
You Yangs landscape 1 (1964), aquatint,
engraving and drypoint (on copper), JM206,
5th of 5 states, ed. 19/30; You Yangs
landscape 1 1964, aquatint, engraving and
drypoint printed in sepia ink (on copper),
JM206, 5th of 5 states, proof A. Gift of Lyn
Williams AM, 2008; Daniel Smith (1964–65),
etching, flat biting and drypoint (on copper),
JM143, 1st of 2 states, counter proof; Daniel
Smith (1964–65), etching, flat biting and
drypoint (on copper), JM143, 2nd of 2 states,
proof B; Isobel being held (1964–65), etching,
drypoint, flat biting and engraving (on copper),
JM137, 1st of 3 states, proof A; Isobel being
held (1964–65), etching, drypoint, flat biting
and engraving (on copper), JM137, 2nd of 3
state, proof A; Isobel being held (1964–65),
etching, drypoint, flat biting and engraving (on
copper), JM137, 3rd of 3 states, ed. 4/16;
Isobel in her playsuit (1964–65), etching,
drypoint and flat biting (on copper), JM144,
2nd of 5 states, proof B; Isobel in her playsuit
(1964–65), etching, drypoint and flat biting
(on copper), JM144, 4th of 5 states, ed. 1/15;
Isobel in her playsuit (1964–65), etching,
drypoint and flat biting (on copper), JM144,
4th of 5 states, proof A; Isobel in her playsuit
(1964–65), etching, drypoint and flat biting
(on copper), JM144, 4th of 5 states, ed. 5/15;
Isobel in her playsuit (1964–65), etching,
drypoint and flat biting (on copper), JM144,
5th of 5 states, ed. 2/18; Isobel in her playsuit
(1964–65), etching, drypoint and flat biting
(on copper), JM144, 5th of 5 states, ed.
11/18; Isobel in her playsuit (1964–65),
etching, drypoint and flat biting (on copper),
JM144, 5th of 5 states, counterproof ed.
2/14; James Mollison (1964–65), etching,
engraving, flat biting and mezzotint rocker (on
copper), JM138, 1st of 3 states, proof B;
Mandy Smith (1964–65), etching and flat
biting (on copper), JM140, unique state, proof
B; Marigold Smith (1964–65), etching,
engraving and flat biting (on copper), JM139,
2nd of 2 states, ed. 3/10; Martin Smith
(1964–65), etching, engraving and drypoint
(on copper), JM141, 2nd of 4 states, proof B;
Martin Smith (1964–65), etching, engraving
and drypoint (on copper), JM141, 3rd of 4
states, proof A; Martin Smith (1964–65),
etching, engraving and drypoint (on copper),
JM141, 4th of 4 states, ed. 8/11; Rhonda
Senbergs (1964–65), etching and flat biting
(on copper), JM136, 2nd of 3 states, proof A;
Rhonda Senbergs (1964–65), etching and flat
biting (on copper), JM136, 3rd of 3 states, ed.
7/12. Gift of Lyn Williams AM, 2007; Burning
tree stump, path and trees (1965), drypoint (on
copper), JM234, 1st of 6 states, proof B;
Burning tree stump, path and trees (1965),
drypoint (on copper), JM234, 2nd of 6 states,
ed. 23/30; Burning tree stump, path and trees
(1965), drypoint (on copper), JM234, 3rd of 6
states, ed. 4/30; Burning tree stump, path and
trees (1965), drypoint (on copper), JM234, 4th
of 6 states, ed. 29/30; Burning tree stump,
path and trees (1965), drypoint (on copper),
JM234, 5th of 6 states, ed. 30/30; Burning
tree stump, path and trees (1965), rough biting
and drypoint (on copper), JM234, 6th of 6
states, ed. 12/30; Burning tree stump, path
and trees (1965), rough biting and drypoint
(on copper) on grey paper, JM234, 6th of 6
states, ed. 3/16; Gil Jamieson painting at
Lysterfield (1965), drypoint and etching (on
copper), JM233, 2nd of 2 states, ed. 1/18; Gil
Jamieson painting at Lysterfield (1965),
drypoint and etching (on copper), JM233, 2nd
of 2 states, ed. 11/18. Gift of Lyn Williams
AM, 2008; Isobel, in full face (1965), etching,
engraving, drypoint, flat biting and rough
biting (on copper), JM146, only state, proof B.
Gift of Lyn Williams AM, 2007; Leaping fox
(1965), drypoint, engraving and flat biting (on
copper), JM236, 2nd of 2 states, ed. 2/10;
Lysterfield landscape number 1 (1965),
etching, engraving and drypoint (on copper),
JM215, 2nd of 3 states, A proof D; Chopped
trees (1965–66), etching, sugar aquatint and
engraving (on copper), JM226, 2nd of 2
states, ed. 2/16; Chopped trees (1965–66),
etching, sugar aquatint and engraving (on
copper) on grey paper, JM226, 2nd of 2
states, ed. 13/16; Chopped trees (1965–66),
etching, sugar aquatint and engraving (on
copper), JM226, 2nd of 2 states, proof 3;
Chopped trees (1965–66), etching, sugar
aquatint and engraving (on copper), JM226,
2nd of 2 states, proof 8; Circle landscape,
Upwey (1965–66), etching, deep etching, flat
biting, engraving, drypoint, mezzotint rocker,
aquatint and electric hand engraving tool (on
zinc), JM221, 1st of 6 states, proof 3/9; Circle
landscape, Upwey (1965–66), etching, deep
etching, flat biting, engraving, drypoint,
mezzotint rocker, aquatint and electric hand
engraving tool (on zinc), JM221, 1st of 6
states, proof 8/9; Circle landscape, Upwey
(1965–66), etching, deep etching, flat biting,
engraving, drypoint, mezzotint rocker, aquatint
and electric hand engraving tool (on zinc),
JM221, 3rd of 6 states, ed. 2/20; Circle
landscape, Upwey (1965–66), etching, deep
etching, flat biting, engraving, drypoint,
mezzotint rocker, aquatint and electric hand
engraving tool (on zinc), JM221, 4th of 6
states, ed. 1/40; Circle landscape, Upwey
(1965–66), etching, deep etching, flat biting,
engraving, drypoint, mezzotint rocker, aquatint
and electric hand engraving tool (on zinc),
JM221, 4th of 6 states, ed. 31/40; Circle
landscape, Upwey (1965–66), etching, deep
etching, flat biting, engraving, drypoint,
mezzotint rocker, aquatint and electric hand
engraving tool (on zinc), JM221, 5th of 6
states, ed. 1/5; Circle landscape, Upwey
(1965–66), etching, deep etching, flat biting,
engraving, drypoint, mezzotint rocker, aquatint
and electric hand engraving tool (on zinc) on
grey paper, JM221, 5th of 6 states, ed. 2/5;
Circle landscape, Upwey (1965–66), etching,
deep etching, flat biting, engraving, drypoint,
mezzotint rocker, aquatint and electric hand
engraving tool (on zinc), JM221, 6th of 6
states, ed. 1/9; First variation of You Yangs
landscape number 1 (1965–66), etching,
engraving, drypoint and flat biting (on copper),
JM210, 3rd of 3 states, ed. 4/21; Forest of
gum trees (1965–66), deep etching, flat biting
and mezzotint rocker (on zinc), JM237, 1st of
6 states, proof 2/4; Forest of gum trees
(1965–66), deep etching, flat biting and
mezzotint rocker (on zinc), JM237, 2nd of 6
states, ed. 8/35; Forest of gum trees
(1965–66), deep etching, flat biting and
mezzotint rocker (on zinc) on grey paper,
JM237, 4th of 6 states, ed. 1/5; Forest of gum
trees (1965–66), deep etching, flat biting and
mezzotint rocker (on zinc), JM237, 4th of 6
states, ed. 2/5; Gum trees in landscape,
Lysterfield (1965–66), etching, aquatint, sugar
aquatint, drypoint and touched with printing
ink (on copper) on grey paper, JM223, 4th of
4 states, ed. 8/8; Hillside at Lysterfield
(1965–66), etching, engraving, drypoint and
flat biting (on zinc), JM239, 3rd of 5 states,
proof A; Hillside at Lysterfield (1965–66),
etching, engraving, drypoint and flat biting (on
zinc), JM239, 5th of 5 states, ed. 2/10;
Hillside at Lysterfield (1965–66), etching,
engraving, drypoint and flat biting (on zinc),
JM239, 5th of 5 states, ed. 9/10; Hillside
landscape, Lysterfield (1965–66), etching, flat
biting, mezzotint rocker and drypoint (on zinc),
JM238, 2nd of 3 states, ed. 4/30; Hillside
landscape, Lysterfield (1965–66), etching, flat
biting, mezzotint rocker and drypoint (on zinc),
JM238, 3rd of 3 states, ed. 2/20; Hillside
landscape, Lysterfield (1965–66), etching, flat
biting, mezzotint rocker and drypoint (on zinc)
on grey paper, JM238, 3rd of 3 states, ed.
3/20; Hillside number 1 (1965–66), etching,
aquatint, drypoint and mezzotint rocker (on
copper), JM224, 2nd of 3 states, ed. 1/25;
Hillside number 1 (1965–66), etching,
aquatint, drypoint and mezzotint rocker (on
copper), JM224, 3rd of 3 states, ed. 13/18;
Hillside number 2 (1965–66), etching, flat
biting, drypoint and mezzotint rocker (on zinc),
JM240, 2nd of 3 states, ed. 4/20; Hummock
and gum tree (1965–66), etching, aquatint,
engraving and drypoint (on copper), JM220,
2nd of 4 states, proof A; Hummock and gum
tree (1965–66), etching, aquatint, engraving
and drypoint (on copper) on grey paper,
JM220, 4th of 4 states, proof A; Hummock in
landscape (1965–66), etching, aquatint,
engraving and mezzotint rocker (on copper),
JM219, 2nd of 3 states (unique proof in this
state), proof A; Hummock in landscape
(1965–66), etching, aquatint, engraving and
mezzotint rocker (on copper), JM219, 3rd of 3
states, ed. 1/20; Mountain landscape number
1 (1965–66), etching, engraving and flat
biting (on copper) on grey paper, JM235, 1st
of 2 states, ed. 1/8; Mountain landscape
number 1 (1965–66), etching, engraving and
flat biting (on copper), JM235, 1st of 2 states,
ed. 6/8; Oval landscape (1965–66), sugar
aquatint, engraving and drypoint (on zinc),
JM242, 1st of 5 states, proof 3/3; Oval
landscape (1965–66), sugar aquatint,
engraving and drypoint (on zinc), JM242, 2nd
of 5 states, proof 2/5; Oval landscape
(1965–66), sugar aquatint, engraving and
drypoint (on zinc), JM242, 3rd of 5 states,
proof 5/7; Oval landscape (1965–66), sugar
aquatint, engraving and drypoint (on zinc),
JM242, 5th of 5 states, ed. 2/18; Ponds,
Lysterfield (1965–66), etching, aquatint,
engraving, sugar aquatint and flat biting (on
copper), JM225, 2nd of 3 states, ed. 14/16;
Ponds, Lysterfield (1965–66), etching,
aquatint, engraving, sugar aquatint and flat
biting (on copper), JM225, 3rd of 3 states, ed.
6/20; Second variation of You Yangs
landscape number 1 (1965–66), etching and
drypoint (on copper), JM211, 1st of 2 states,
ed. 20/30; Upwey landscape number 1
(1965–66), etching, engraving and flat biting
(on copper), JM217, 2nd of 3 states, ed.
26/30; Upwey landscape number 1
(1965–66), etching, engraving and flat biting
(on copper) on grey paper, JM217, 3rd of 3
states, ed. 7/14; Upwey landscape number 2
(1965–66), etching, aquatint, rough biting and
mezzotint rocker (on copper), JM228, 3rd of 4
states, ed. 1/5; Upwey landscape number 2
(1965–66), etching, aquatint, rough biting and
mezzotint rocker (on copper) on grey paper,
JM228, 4th of 4 states, ed. 1/17; Upwey
landscape number 2 (1965–66), etching,
aquatint, rough biting and mezzotint rocker
(on copper), JM228, 4th of 4 states, ed. 7/17;
Upwey landscape number 4 (1965–66),
etching, aquatint, engraving, mezzotint rocker
and flat biting (on copper) on grey paper,
JM230, only state, ed. 1/25; Upwey
landscape number 4 (1965–66), etching,
aquatint, engraving, mezzotint rocker and flat
biting (on copper) on grey paper, JM230, only
state, ed. 6/25; Upwey landscape number 4
(1965–66), etching, aquatint and touched in
pencil (on copper), JM230, only state,
uncatalogued proof; Upwey landscape
number 5 (1965–66), etching, aquatint rough
biting and engraving (on copper) on grey
paper, JM231, 3rd of 3 states, ed. 2/21. Gift
of Lyn Williams AM, 2008; Visitors at Upwey
(1965–66), etching and drypoint (on copper),
JM151, only state, ed. 4/18. Gift of Lyn
Williams AM, 2007; You Yangs landscape
number 3 (1965–66), etching, drypoint, rough
biting, flat biting and mezzotint rocker (on
copper), JM218, 2nd of 3 states, proof B;
Scrub at Lilydale (1965–67), etching, aquatint,
engraving drypoint and flat biting (on copper),
JM227, 4th of 4 states, proof F; Decorative
panel, You Yangs number 1 (1966), etching,
drypoint, flat biting and mezzotint rocker (on
copper), JM212, 2nd of 2 states, ed. 2/20;
Decorative panel, You Yangs number 2 (1966),
etching, engraving, aquatint, drypoint, flat
biting and mezzotint rocker (on copper) on
grey paper, JM213, 2nd of 2 states, ed. 11/14;
Decorative panel, You Yangs number 3 (1966),
etching, engraving, flat biting and mezzotint
rocker (on copper), JM214, 2nd of 2 states,

ed. 3/25; Decorative panel, You Yangs number 3rd of 5 states, ed. 2/6; Fallen tree, circular
GEORGE JONES & SONS, Stokeon-Trent,
Staffordshire manufacturer
manufacturer (England est. 1793) Alboine (est. 1982) Domenico DOLCE designer (1981–84) Vivienne WESTWOOD designer
MINTON, Stoke-on-Trent, Staffordshire DOLCE & GABBANA, Italy fashion house WORLD’S END, London manufacturer International Prints
3 (1966), etching, engraving, flat biting and plate (1967), etching, aquatint, engraving and INTERNATIONAL ART
and Drawings
mezzotint rocker (on copper), JM214, 2nd of 2 drypoint (on zinc), JM246, 4th of 5 states,
(England 1873 –1951), Bough pot (c. 1880),
BIRKS decorator (England 1861–1941), Plate (born Italy 1958) Stefano GABBANA
(born England 1941–) Malcolm McLAREN
states, ed. 5/25;
ed. 1/16; Fallen tree, circular plate (1967),
earthenware. Gift of Dr Robert Wilson and
1905, porcelain (pâte-sur-pâte). Gift of Dr designer (born Italy 1962), Necklace (c. designer (born England 1946–), Bra 1982–83
First variation of You Yangs landscape number etching, aquatint, engraving and drypoint Asian
Colin Lane, 2008
Robert Wilson and Colin Lane, 2008
1993), polycarbonate, plastic, metal. Gift of autumn-winter, Nonstalgia of mud collection,
1 (1966), etching, engraving, drypoint and flat (on zinc) on grey paper, JM246, 5th of 5
John and Suzanne Playfoot, 2008
polyester, cotton (lining), metal, leather.
biting (on copper), JM210, 2nd of 3 states, ed. states, ed. 4/14; First Rothbury label (1967),
MEISSEN PORCELAIN FACTORY,
Bernard MOORE designer (England
Purchased NGV Foundation, 2008
17/30. Gift of Lyn Williams AM, 2008; Frog etching, rough biting, burnishing and roulette Gifts
Meissen manufacturer (Germany est. 1710)
1853–1935), Vase (1905–15), earthenware. EMILIO PUCCI, Florence fashion house
Books — Gifts
Roger CUTFORTH (English 1944–, worked
(1966), drypoint (on copper), JM156, only (on zinc), JM248, 2nd of 3 states, proof 1/1.
Johann Joachim KÄNDLER designer
Gift of Dr Robert Wilson and Colin
(est. 1944) Emilio PUCCI designer (Italy
in United States 1967–), Work from 1968
state, ed. 31/36; Hal Hattam (1966), etching, Gift of Lyn Williams AM, 2008; Tumblers GUJARATI, Odhni (Woman’s head scarf) (late (Germany 1706–75), Pair of parrots (c. 1738)
Lane, 2008
1914–92), Ensemble comprising top and
to 1971 (1968–71), artist’s book: black and
drypoint and mezzotint rocker (on copper), number 2 (1967), etching, deep etching, flat 19th century), silk, gold thread. Gift of Michael
International Multimedia
designed, (c. 1745) manufactured, porcelain
skirt (c. 1967), printed silk. Gift of John and
white photocopies, 41 pages, plastic cover,
JM155, 1st of 4 states, proof B; Hal Hattam biting, drypoint and mezzotint rocker (on zinc), Abbott, 2008
(hard-paste). Gift of Mr Peter Wynne
WORCESTER ROYAL PORCELAIN
Suzanne Playfoot, 2007
plastic strip binding; April (1969), artist’s
(1966), etching, drypoint and mezzotint rocker JM163, 1st of 5 states, proof A Tumblers
Morris, 2007
COMPANY, Worcester manufacturer
Purchases
book: black and white photocopies, 30 pages,
(on copper), JM155, 2nd of 4 states, ed. 2/6; number 2 (1967), etching, deep etching, flat JAPANESE, Stem table 1540–50, laquer on
(England est. 1862), Vase 1877, porcelain ENGLISH ECCENTRICS, London fashion
plastic cover, plastic strip binding; Thermal –
Hal Hattam (1966), etching, drypoint and biting, drypoint and mezzotint rocker (on zinc), wood (Negoro lacquer). Presented by The MEISSEN PORCELAIN FACTORY,
(bone china). Gift of Dr Robert Wilson and house (est. 1982) Helen LITTMAN designer Yinka SHONIBARE (English 1962–) A landscape (March) (1969), artist’s book: black
mezzotint rocker (on copper), JM155, 2nd of JM163, 1st of 5 states, proof B; Tumblers Yulgilbar Foundation, 2008
Meissen manufacturer (Germany est. 1710),
Colin Lane, 2007
(born England 1955), Necktie, Neoclassic masked ball (Un ballo in maschera) (2004), and white photocopies, 31 pages, plastic
4 states, ed. 4/6; Hal Hattam (1966), etching, number 2 (1967), etching, deep etching, flat
Rustic cottage (c. 1745), porcelain (hardpaste).
Gift of Mr Peter Wynne Morris, 2007
WORCESTER ROYAL PORCELAIN
Anthony Knight, 2007
print 1992 spring-summer, silk. Gift of
colour digital video, sound, 32 min, edition of cover, plastic strip binding. Gift of Robert
drypoint and mezzotint rocker (on copper), biting, drypoint and mezzotint rocker (on zinc), KANO Eino (Japanese 1631–97), Birds and
6. Purchased with funds donated by Joan and Rooney, 2008
JM155, 3rd of 4 states, proof A; Hal Hattam JM163, 1st of 5 states, ed. 10/20; Tumblers flowers of the four seasons (17th century), pair
COMPANY, Worcester manufacturer
Peter Clemenger AM, 2008
(1966), etching, drypoint and mezzotint rocker number 2 (1967), etching, deep etching, flat of six panel folding screens: ink, gold paint MINTON, Stoke-on-Trent, Staffordshire
(England est. 1862) James HADLEY
MEXICO, Waistcoat 1969, leather (suede).
(on copper), JM155, 3rd of 4 states, proof B. biting, drypoint and mezzotint rocker (on zinc), and pigments on gold leaf on paper, lacquer manufacturer (England est. 1793), Teapot
designer England (c. 1837–1903), Vase 1880, Gift of Christine Graunas, 2008
Bill VIOLA
Drawings — Gifts
Gift of Lyn Williams AM, 2007; Landscape in JM163, 1st of 5 states, ed. 17/20; Tumblers on wood, paper, silk, metallic thread, brass. stand (c. 1810), porcelain. Gift of Dr Robert
porcelain. Gift of Dr Robert Wilson and Colin
American 1951– still from Ocean without
Upwey (1966), etching, engraving, drypoint number 2 (1967), etching, deep etching, flat Presented by The Yulgilbar Foundation, 2008 Wilson and Colin Lane, 2008; Lidded vase
Lane, 2007
a shore 2007, three channel colour high
Purchases
Charles PERCIER (French 1764–1838,
and mezzotint rocker (on copper), JM216, biting, drypoint and mezzotint rocker (on zinc),
(1840); Pair of plates 1874, porcelain (bone
definition video transferred to computer hard
106 worked in Italy 1786–91) Pierre-François-
RAJASTHANI, Pilgrim’s necklace depicting
drive, sound, plasma screen monitors, 90
107
3rd of 3 states, ed. 7/18. Gift of Lyn Williams
AM, 2008; Picnic at Yellingbo (1966), etching,
engraving, drypoint, foul biting and mezzotint
rocker (on copper), JM153, 1st of 5 states,
ed. 1/12; Picnic at Yellingbo (1966), etching,
engraving, drypoint, foul biting and mezzotint
rocker (on copper), JM153, 1st of 5 states,
proof B; Picnic at Yellingbo (1966), etching,
engraving, drypoint, foul biting and mezzotint
rocker (on copper), JM153, 1st of 5 states,
proof C; Picnic at Yellingbo (1966), etching,
engraving, drypoint, foul biting and mezzotint
rocker (on copper), JM153, 1st of 5 states,
maculature; Picnic at Yellingbo (1966),
etching, engraving, drypoint, foul biting and
mezzotint rocker (on copper), JM153, 3rd of
5 states, proof A; Picnic at Yellingbo (1966),
etching, engraving, drypoint, foul biting and
mezzotint rocker (on copper), JM153, 4th of
5 states, proof B; Picnic at Yellingbo (1966),
etching, engraving, drypoint, foul biting and
mezzotint rocker (on copper), JM153, 5th of
5 states, ed. 2/7; Picnic at Yellingbo (1966),
etching, engraving, drypoint, foul biting and
mezzotint rocker (on copper), JM153, 5th of
5 states, ed. 4/7; Picnic at Yellingbo (1966),
etching, engraving, drypoint, foul biting and
mezzotint rocker (on copper), JM153, 5th of
5 states, ed. 6/7; Picnic at Yellingbo (1966),
etching, engraving, drypoint, foul biting and
mezzotint rocker (on copper), JM153, 5th of
5 states, counterproof B; Young girl number
3 (1966), etching (on copper), JM159, only
state, ed. 28/30; Young girl number 3 (1966),
etching (on copper), JM159, only state, ed.
29/30; Young girl number 4 (1966), etching,
engraving and flat biting (on copper), JM 160,
1st of 4 states, proof A; Young girl number
4 (1966), etching, engraving and flat biting
(on copper), JM160, 2nd of 4 states, artist’s
proof; Young girl number 4 (1966), etching,
engraving and flat biting (on copper), JM160,
3rd of 4 states, counterproof A; Young girl
number 5 (1966), etching and engraving
(on copper), JM161, 1st of 3 states, proof
A; Young girl number 5 (1966), etching and
engraving (on copper), JM161, 1st of 3 states,
counterproof A; Young girl number 5 (1966),
etching and engraving (on copper), JM161,
2nd of 3 states, counterproof A; Young girl
number 5 (1966), etching and engraving (on
copper), JM161, 3rd of 3 states, counterproof
A; Young girl number 6 (1966), etching,
engraving and flat biting (on copper), JM162,
only state, ed. 1/16. Gift of Lyn Williams AM,
2007; Chopped trees, Lysterfield (1966–67),
etching, aquatint, drypoint and flat biting (on
zinc) on grey paper, JM245, only state, ed.
16/25; Chopped trees, Lysterfield (1966–67),
etching, aquatint, drypoint and flat biting (on
zinc), JM245, only state, ed. 22/25; Circular
hillside landscape (1966–67), etching,
engraving, drypoint and mezzotint rocker
(on copper), JM244, 2nd of 3 states, ed.
3/10; Circular hillside landscape (1966–67),
etching, engraving, drypoint and mezzotint
rocker (on copper) on grey paper, JM244,
3rd of 3 states, ed. 1/10; Fallen tree, circular
plate (1967), etching, aquatint, engraving and
drypoint (on zinc), JM246, 1st of 5 states,
proof A; Fallen tree, circular plate (1967),
etching, aquatint, engraving and drypoint
(on zinc), JM246, 2nd of 5 states, proof B;
Fallen tree, circular plate (1967), etching,
aquatint, engraving and drypoint (on zinc) and
pencil, JM246, 3rd of 5 states, ed. 1/6; Fallen
tree, circular plate (1967), etching, aquatint,
engraving and drypoint (on zinc), JM246,
JM163, 1st of 5 states, ed. 19/20; Tumblers
number 2 (1967), etching, deep etching, flat
biting, drypoint and mezzotint rocker (on
zinc), JM163, 1st of 5 states, counterproof
A; Tumblers number 2 (1967), etching, deep
etching, flat biting, drypoint and mezzotint
rocker (on zinc), JM163, 1st of 5 states,
counterproof C; Tumblers number 2 (1967),
etching, deep etching, flat biting, drypoint
and mezzotint rocker (on zinc), JM163, 1st of
5 states, counterproof D; Tumblers number
2 (1967), etching, deep etching, flat biting,
drypoint and mezzotint rocker (on zinc),
JM163, 3rd of 5 states, proof B; Tumblers
number 2 (1967), etching, deep etching, flat
biting, drypoint and mezzotint rocker (on zinc),
JM163, 4th of 5 states, proof A; Tumblers
number 2 (1967), etching, deep etching, flat
biting, drypoint and mezzotint rocker (on zinc),
JM163, 5th of 5 states, ed. 11/30; Tumblers
number 2 (1967), etching, deep etching, flat
biting, drypoint and mezzotint rocker (on zinc),
JM163, 5th of 5 states, ed. 23/30; Tumblers
number 2 (1967), etching, deep etching, flat
biting, drypoint and mezzotint rocker (on zinc),
JM163, 5th of 5 states, ed. 25/30. Gift of Lyn
Williams AM, 2007; Canberra triptych (1970),
drypoint and electric hand engraving tool
(on copper) printed in sepia ink, JM250, 2nd
of 2 states, proof 2/3. Gift of Lyn Williams
AM, 2008
Prints — Purchases
Neil Emmerson (born Australia 1956), (I
was his…) 2005, etchings, synthetic polymer
paint and vinyl lettering on composition board.
Purchased, Victorian Foundation for Living
Australian Artists, 2008
Margaret Preston (Australia 1875–1963,
lived in Europe 1904–07, 1912–19), Aboriginal
design – The hunt 1940, hand-coloured
woodcut. Purchased with funds donated from
the Estate of Dr Donald Wright, 2008
Australian Sculpture
Gifts
Clive Murray-White (born England 1946,
arrived Australia 1959), Maquette for the Alfred
Felton centenary sculpture (2003), marble.
Commemorating 100 years of the Felton
Bequest 1904–2004. Felton Bequest, 2004
Charles Robb (born Australia 1971),
Maquette for the Alfred Felton centenary
sculpture (2003), synthetic polymer paint
on fibreglass. Commemorating 100 years
of the Felton Bequest 1904–2004. Felton
Bequest, 2004
the Hindu god Krishna in the form of Sri Nathji;
Pilgrim’s necklace depicting the Hindu god
Krishna in the form of Sri Nathji (19th century),
paint on paper, metal, cotton. Gift of Michael
Abbott, 2008
SUMBANESE, Man’s ceremonial cloth
(Hinggi) (c. 1890), cotton, dyes. Bequest of
Rose Mulock-Houwer MBE, 2007
WU Zuoren (Chinese 1908–97), Pandas
and bamboo 1964, album: ink on paper, 8
paintings, cardboard, paper, silk and gold
leaf on concertina glued binding. Gift of an
anonymous donor, 2007
Purchases
BIHARI, A nautch dancing girl with a musician;
Two musicians (c. 1860), opaque watercolour
and gold paint on paper (Company style).
Purchased NGV Foundation, 2007
JAPANESE, Incense container (early 16th
century), lacquer on wood (Kamakura- bori
lacquer). Purchased with funds donated by
the The Yulgilbar Foundation, 2008
JAPANESE, Horse stable (early 17th century),
six panel screen: ink, pigment and gold paint
on paper, lacquer on wood, silk, paper, metal.
Purchased, Allan and Maria Myers Fund for
the Acquisition of Asian Art, 2008
KOREAN, Dragon jar Choson dynasty
(18th century), porcelain. Purchased, NGV
Foundation, NGV Supporters of Asian Art and
the Lillian Ernestine Lobb Bequest, 2007
Kim Hoa TRAM (Chinese 1959–, worked
in Australia 1984–), Lost one’s way (Mitu);
Returning home (Guitu) 2005, ink on paper.
Purchased, NGV Supporters of Asian
Art, 2008
International
Decorative Arts
Gifts
Karl BERTSCH designer (Germany
1873–1933) DEUTSCHE WERKSTÄTTEN
FÜR HANDWERSKUNST DRESDEN-
HELLERAU UND MÜNCHEN, Munich
manufacturer (Germany 1907–34),
Armchair; Chair (c. 1910), oak, cane; Table
(c. 1910), oak, glass. Bequest of Wolfgang
Sievers, 2008
Marcel BREUER designer (Hungary/
Germany/United States 1902–81)
ISOKON FURNITURE COMPANY,
London manufacturer (England 1935– c.
1982), Long chair 1935–36 designed, (c.
1962) manufactured, laminated plywood,
polyurethane, wool. Gift of Grietje Croll, 2007
DERBY CROWN PORCELAIN CO., Derby
manufacturer (England 1876–90), Pair of
vases 1883, porcelain (bone china). Gift of Dr
Robert Wilson and Colin Lane, 2008
china). Gift of Dr Robert Wilson and Colin
Lane, 2007; Plaque (1876), earthenware. Gift
of Dr Robert Wilson and Colin Lane, 2008
MINTON, Stoke-on-Trent, Staffordshire
manufacturer (England est. 1793) William
MUSSILL decorator (France/England
1826–1906), Pair of lidded moonflasks 1877,
earthenware. Gift of Dr Robert Wilson and
Colin Lane, 2008
MINTON, Stoke-on-Trent, Staffordshire
manufacturer (England est. 1793) Richard
PILSBURY decorator (England 1830–97),
Plaque 1877, earthenware. Gift of Dr Robert
Wilson and Colin Lane, 2008
MINTON, Stoke-on-Trent, Staffordshire
manufacturer (England est. 1793), Pair of
fireplace slabs 1879, porcelain. Gift of Dr
Robert Wilson and Colin Lane, 2008
MINTON, Stoke-on-Trent, Staffordshire
manufacturer (England est. 1793) Désiré
LEROY decorator (England 1840–1908)
DAVIS COLLAMORE & CO., New York
retailer (United States 1861– c. 1920), Pair of
plates 1884, porcelain (bone china). Gift of Dr
Robert Wilson and Colin Lane, 2007
MINTON, Stoke-on-Trent, Staffordshire
manufacturer (England est. 1793), Flask (c.
1885), porcelain (pâte-sur-pâte). Gift of Dr
Robert Wilson and Colin Lane, 2008
MINTON, Stoke-on-Trent, Staffordshire
manufacturer (England est. 1793) Marc-
Louis-Emmanuel SOLON decorator
(France/England 1835–1913), Flask (c.
1885), porcelain (pâte-sur-pâte). Gift of Dr
Robert Wilson and Colin Lane, 2008
MINTON, Stoke-on-Trent, Staffordshire
manufacturer (England est. 1793), Pair
of lidded vases (c. 1885), porcelain (pâtesur-pâte).
Gift of Dr Robert Wilson and
Colin Lane, 2008; The Pass of Aberglaslyn,
Beddgelert and Loch Lomond, pair of plates
1888, porcelain (bone china). Gift of Dr
Robert Wilson and Colin Lane, 2007
MINTON, Stoke-on-Trent, Staffordshire
manufacturer (England est. 1793) Désiré
LEROY decorator (England 1840–1908)
THOMAS GOODE & CO. (LTD), London
retailer (England est. 1827), Plate (1880s)
porcelain (bone china). Gift of Dr Robert
Wilson and Colin Lane, 2007
MINTON, Stoke-on-Trent, Staffordshire
manufacturer (England est. 1793) Anton
BOULLEMIER decorator (England
1840–1900), Vase 1899, porcelain (bone
china). Gift of Dr Robert Wilson and Colin
Lane, 2007
MINTON, Stoke-on-Trent, Staffordshire
manufacturer (England est. 1793) Alboine
BIRKS decorator (England 1861–1941)
PELLATT & CO., London retailer (England
c. 1790 –1895), Plate 1903, porcelain (pâtesur-pâte).
Gift of Dr Robert Wilson and Colin
Lane, 2008
WORCESTER ROYAL PORCELAIN
COMPANY, Worcester manufacturer
(England est. 1862), Vase 1883, porcelain.
Gift of Dr Robert Wilson and Colin
Lane, 2007
WORCESTER ROYAL PORCELAIN
COMPANY, Worcester manufacturer
(England est. 1862) James HADLEY
designer England (c. 1837–1903), Ewer 1888,
porcelain. Gift of Dr Robert Wilson and Colin
Lane, 2007
W. T. COPELAND AND SONS, Stoke-on-
Trent, Staffordshire manufacturer (England
1867–1932) Rafaelle MONTI designer
(Italy/England 1818–80), Love, bust 1873,
porcelain (parian). Gift of Dr Robert Wilson
and Colin Lane, 2007
W. T. COPELAND AND SONS, Stoke-on-
Trent, Staffordshire manufacturer (England
1867–1932), Vase (c. 1880); Sardanapalus,
figure 1881; May Queen, bust 1890, porcelain
(parian). Gift of Dr Robert Wilson and Colin
Lane, 2007
Purchases
Carlo BUGATTI designer (Italy 1856–1940),
Lady’s writing desk and chair (Bureau de dame
et chaise) (c. 1890–1900), ebonised wood,
wood, ivory, vellum, pewter, copper, brass,
cord. Howard Spensley Bequest, 2008; Chair,
from the Snail Room (1902), wood, vellum,
copper. Purchased with the assistance of
Paula Fox, the NGV Women’s Association
and the NGV Supporters of Decorative Arts,
2008 Purchased NGV Foundation, 2008
CHANTILLY PORCELAIN FACTORY,
Chantilly (France (c. 1730–92), Covered
jug (c. 1750), porcelain (soft paste), silver.
Purchased NGV Foundation, 2008
Jacques-Emile RUHLMANN designer
(France 1879–1933), Tivo, chair (c. 1918),
Macassar ebony (Diospyros discolour), wood,
ivory, velvet, (other materials). Purchased,
NGV Women’s Association, 2008; Lady’s
writing desk (Bureau de dame) (c. 1920),
Macassar ebony (Diospyros discolour), wood,
ivory, silver plate, silk tassels. Purchased
with the assistance of the NGV Women’s
Association and Paula Fox, 2007
International Fashion
and Textiles
Gifts
COMME DES GARÇONS, Tokyo fashion
house (est. 1969) Rei KAWAKUBO
designer (born Japan 1942), Jacket 1981
autumn-winter, wool, horn. Gift of Takamasa
Takahashi, 2008; Dress (c. 1984), wool. Gift
of Emmanuel Hirsh, 2008; Jacket, shirt and
skirt 1993 spring-summer, polyester, chiffon,
cotton, calico; Waistcoat and skirt 1994
spring-summer, wool. Gift of Wendy Marshall,
2008; Dress and jacket 1997autumnwinter,
The adult punk (Demolition and
reconstruction) collection, wool, cupra,
synthetic fur, metal, plastic. Gift of Anna
Schwartz, 2008
BALENCIAGA, Paris fashion house (est.
1937) Nicholas GHESQUIÈRE designer
(born France 1971), Sandals 2007 autumnwinter,
leather, plastic, metal, rubber, nylon.
Purchased NGV Foundation, 2008
COMME DES GARÇONS, Tokyo fashion
house (est. 1969) Rei KAWAKUBO designer
(born Japan 1942), Jacket 2005 springsummer,
leather, metal. Purchased NGV
Foundation, 2007
DORIS DE PONT, Auckland fashion
house (1985–94, 2002–) Doris DE PONT
designer (born New Zealand 1954) Margo
BARTON milliner (born New Zealand 1957)
Sofia TEKELA-SMITH (born New Zealand
1970), Outfit comprising Habernero halter top,
Pacific pleats skirt, titi, Hibiscus, Feather and
Pule headpiece, necklace and bangle, 2004
winter, Let’s gather here collection, polyester,
video tape, transparent synthetic polymer
resin, vinyl, cotton thread, mother-of-pearl.
Purchased NGV Foundation, 2008
DORIS DE PONT, Auckland fashion house
(1985–94, 2002–) Doris DE PONT designer
(born New Zealand 1954) Margo BARTON
milliner (born New Zealand 1957), Outfit
comprising Remix shirt, Galatos jean, titi and
Hibiscus and Pule headpiece, 2004 winter,
Let’s gather here collection, cotton, polyester,
viscose, leather, transparent synthetic polymer
resin, vinyl. Purchased NGV Foundation, 2008
DORIS DE PONT, Auckland fashion
house (1985–94, 2002–) Doris DE PONT
designer (born New Zealand 1954), Outfit
comprising Battle jacket, Idol shirt, Cortina
skirt, belt, mittens and tights, 2007 winter,
Sampler collection, cotton, lycra, viscose,
polyester, transparent synthetic polymer
resin; Outfit comprising Brace jacket, Go
west dress, Memory heart necklace and Big
heart necklace, 2007–08 summer, X my
heart collection, silk, cotton, transparent
synthetic polymer resin. Purchased NGV
Foundation, 2008
HARTNELL, London fashion house (est.
1923) Norman HARTNELL designer
(England 1901–79), Coat (c. 1937), silk velvet,
rayon, synthetic braid, silk (lining). Purchased
NGV Foundation, 2008
LANVIN, Paris fashion house (est. 1909),
Alber ELBAZ designer (born Morocco
1961, lived in Israel 1971–85, United States
1985–96, France 1996–), Dress 2008
spring-summer, silk tulle, silk (lining), nylon,
metal; Necklace 2008 spring-summer,
plastic, rayon ribbon, cotton cord, diamanté.
Purchased with funds donated by Kerry
Gardner, 2008
THIERRY MUGLER, Paris fashion house
(est. 1974) Thierry MUGLER designer (born
France 1946), Dress 1990 spring-summer,
acetate, viscose, metal. Purchased NGV
Foundation, 2007
min, edition of three. Purchased with funds
donated by Loti Smorgon AO and Victor
Smorgon AC, 2008
International Painting
Gifts
Jacques-Emile BLANCHE (French
1861–1942), The pink rose (1890), oil on
canvas. Gift of Alice Vaughan, 2008
Purchases
Amédée OZENFANT (French/American
1886–1966, worked in Russia 1910–13) Still
life (Nature morte) (1920), oil on canvas. The
Eugenie Crawford Bequest, 2007
John PULE (Niuean 1962–, emigrated to
New Zealand 1964) Mamalu (When I look
at the world) 2007, oil, ink and enamel on
canvas. Purchased NGV Foundation, 2007
INternational
Photography
Gifts
Roger CUTFORTH (English 1944–, worked
in United States 1967–), Location piece #1
1969, gelatin silver photographs, plastic. Gift
of Robert Rooney, 2008
Boyd WEBB (New Zealander 1947–, worked
in England 1976–), Australasian art piece no.
1 (1972), letterpress on paper, staple, rubber
stamp; Wakatipu 1973, black paper, gelatin
silver photographs, adhesive tape. The Ian
Brown Collection. Gift of the Reverend Ian
Brown, 2008
Purchases
Yinka SHONIBARE (English 1962–), The
sleep of reason produces monsters (Asia); The
sleep of reason produces monsters (Australia)
2008, type C photograph. Purchased, NGV
Contemporary, 2008
WANG Qingsong (Chinese 1966–)
Preincarnation 2002, type C photographs.
Purchased with the assistance of the Lillian
Ernestine Lobb Bequest, 2007
ZHANG Huan (Chinese 1965–, worked in
United States 1998–), Shanghai family tree
2001, type C photographs. Purchased with
funds donated by Jason Yeap and Min Lee
Wong, 2008
Léonard FONTAINE (French 1762–1853,
worked in Italy 1785–90), View of the great
casino of the Villa Albani (Vue du Grand
Casin de la Villa Albani) (1786–1809), pen
and ink and wash with white gouache and
watercolour, on secondary support with
engraved text. Gift of Alice Vaughan, 2008
Drawings — Purchases
Giovanni Domenico TIEPOLO (Italian
1727–1804, worked in Spain 1762–70,
Germany 1750–53), Sheet of studies: The
head of Cleopatra; and a Closed hand (recto);
A raised arm; and a Hand holding a dish
(verso) (1744), black chalk, heightened with
white chalk, on grey-green paper. Purchased
NGV Foundation, 2008
Prints — Gifts
Simeon Nelson (born England 1964, lived
in Australia 1967–2001) Looking up into the
matrix; (Preliminary drawing for a centenary
sculpture of Alfred Felton); (Preliminary
drawing for a centenary sculpture of Alfred
Felton); View from above at night (2003),
computer generated colour inkjet print.
Commemorating 100 years of the Felton
Bequest 1904–2004. Felton Bequest, 2004
Oceanic
Gifts
Awaneen village, Tufi district, Oro
Province, Papua New Guinea Double pig
tusk necklace (20th century), pig tusk, cowrie
shell, wild banana seed, fibre string, tapa
string. Gift of Louise and Sam Dawson, 2008
Baga village, Tufi district, Oro Province,
Papua New Guinea Head ornament (20th
century), nasa shell, fibre string; Mother-ofpearl
necklace (20th century), mother-ofpearl,
turtle shell, shell, seed, fibre string.
Gift of Louise and Sam Dawson, 2008
Jebo village, Tufi district, Oro Province,
Papua New Guinea, Clam shell ring necklace
(20th century), clam shell, candle nut, fibre
string, tapa string, plastic; Double pig tusk
necklace (20th century), pig tusk, conus
shell, fibre string, tapa string; Mother-of-pearl
necklace (20th century), mother-of-pearl,
shell, nylon cord; Shell necklace (20th
century), conus shell, fibre string, pigment on
tapa string; Shell necklace (20th century),
conus shell, fibre string, cotton; Shell necklace
(20th century), conus shell, fibre string,
pigment on tapa string, nylon cord; Shell
necklace (20th century), conus shell, fibre
string; Shell necklace (20th century), conus
shell, fibre string, tapa string. Gift of Louise
and Sam Dawson, 2008
Jiwaka, Banz, Western Highlands
Province, Papua New Guinea, Cane figure,
Bolumbuku (1980s), wood, pigment, fern tree,
seed, fibre, shell, mother-of-pearl. Gift of Chris
Boylan, 2008

Kagua, Erave district, Southern Highlands
Province, Papua New Guinea, Shield
(1960s), wood, pigment, fibre string. Gift of
Chris Boylan, 2008
Massim people, Trobriand Islands, Milne
Bay Province, Papua New Guinea, War
shield (19th century), earth pigment on wood,
fibre; Wealth spatula; Wealth spatula (early
20th century), wood, shell, fibre, lime; Turtle
wealth spatula (mid 20th century), turtle shell,
shell, fibre, lime. Gift of Todd Barlin, 2008
Melpa people, Western Highlands
Province, Papua New Guinea, Moka kina
(1980s), mother-of-pearl, pigment, tree resin,
cane. Gift of Chris Boylan, 2008
Mendi, Munihu district, Southern
Highlands Province, Papua New Guinea,
Archer’s shield (1940s–50s), wood, pigment,
fibre string. Gift of Chris Boylan, 2008
Tufi district, Oro Province, Papua New
Guinea, Clam shell ring necklace (20th
century), clam shell, bush seed, wild banana
seed, fibre string; Double pig tusk necklace
(20th century), pig tusk, conus shell, wild
banana seed, fibre string, tapa string; Head
rest (20th century), wood; Shell necklace;
Shell necklace (20th century), shell, wild
banana seed, nylon cord; Shell necklace (20th
century), conus shell, shell, wild banana seed,
nylon cord; Single pig tusk necklace (20th
century), pig tusk, conus shell, wild banana
seed, sago palm seed, fibre string; Snake
teeth necklace (20th century), snake teeth,
shell, candle nut, fibre string, tapa string;
Trocus shell necklace (20th century), trocus
shell, cone shell, wild banana seed, fibre
string; Turtle shell comb (20th century), turtle
shell, shell, wild banana seed, fibre string; War
and peace ornament (20th century), pig tusk,
pigment on tapa string, fibre string, cotton.
Gift of Louise and Sam Dawson, 2008
108 Rommy Ofair (Utukwaf people c.
Uwe village, Tufi district, Oro Province,
109
1930–2005), Double pig tusk necklace (20th Papua New Guinea, Double pig tusk
century), pig tusk, shell, candle nut, fibre
necklace (20th century), pig tusk, shell, fibre
string, tapa string. Gift of Louise and Sam
cord, tapa string. Gift of Louise and Sam
Dawson, 2008
Dawson, 2008
Orotoaba village, Tufi district, Oro
Province, Papua New Guinea, Clam shell
ring necklace (20th century), clam shell,
shell, fibre string; Double pig tusk necklace
(20th century), pig tusk, candle nut wild
banana seed, fibre string; Shell necklace
(20th century), conus shell, fibre string; Shell
necklace (20th century), conus shell, wild
banana seed, seed, fibre, pigment of tapa
string. Gift of Louise and Sam Dawson, 2008
Popondetta, Oro Province, Papua New
Guinea, Head ornament (20th century), nasa
shell, pigment on fibre string. Gift of Louise
and Sam Dawson, 2008
Safia, Oro Province, Oro Province, Papua
New Guinea, Bailer shell necklace, Dodoura
(20th century), bailer shell, shell, fibre
string, tapa string. Gift of Louise and Sam
Dawson, 2008
Safia/ Bibira, Oro Province, Papua New
Guinea, Clam shell necklace (20th century),
clam shell, fibre string, tapa string; Double
clam shell wealth rings (20th century), clam
shell, pigment on fibre string; Shell necklace;
Shell necklace (20th century), conus shell,
candle nut, fibre string; Shell necklace (20th
century), conus shell, fibre string. Gift of
Louise and Sam Dawson, 2008
Siu village, Tufi district, Oro Province,
Papua New Guinea, Shell necklace (20th
century), wood; Shell necklace (20th century),
conus shell, wild banana seed, nylon cord;
Shell necklace (20th century), cowrie shell,
wild banana seeds, nylon cord; Shell necklace
(20th century), conus shell, receptacle, nylon
cord; Shell necklace (20th century), conus
shells, seed, fibre string; Shell necklace (20th
century), cowrie shell, fibre string, pigment
on tapa string. Gift of Louise and Sam
Dawson, 2008
Wanigela, Oro Province, Papua New
Guinea, Head ornament (20th century), nasa
shell, shell, wild banana seed, fibre string. Gift
of Louise and Sam Dawson, 2008
Purchases
Aspesa Gadai (Omie people born 1961),
Omie mountains, Dahorué 2004; Fruit from
a tree and jungle vines, Sihaé and odunege
2006, natural pigments on bark fibre (nyog’e).
Purchased NGV Foundation, 2008
Pauline Rose Hago (Omie people born
1964), Jungle vines, Odunege 2006, natural
pigments on bark fibre (nyog’e). Purchased
NGV Foundation, 2008
Jean Magreat Hoijo (Omie people born
1956), Backbone of mountain fish and jungle
vines, Visuanoé and odunege 2006, natural
pigments on bark fibre (nyog’e). Purchased
NGV Foundation, 2008
Dapeni Jonevari (Omie people born 1949),
Omie custom creation 2006, natural pigments
on bark fibre (nyog’e). Purchased NGV
Foundation, 2008
Nerry Keme (Omie people born 1975), Tree
bark, Obohutaigué 2007, natural pigments
on bark fibre(nyog’e). Purchased NGV
Foundation, 2008
Vivian Oviro (Omie people born 1970), Fruit
from a tree, Sihaé 2002, natural pigments
on bark fibre (nyog’e). Purchased NGV
Foundation, 2008
International Sculpture
Gifts
Simeon NELSON (born England 1964, lived
in Australia 1967–2001), (Maquette for the
Alfred Felton centenary sculpture) (2003),
metallic and enamel paint on wood, plastic,
metal, wood, fabric. Commemorating 100
years of the Felton Bequest 1904–2004.
Felton Bequest, 2004
Purchases
François POMPON (French 1855–1933)
CLAUDE VALSUANI, Paris foundry (French
1909–79), Polar bear (Ours blanc) (1925,
cast c. 1933), bronze. Purchased with the
assistance of the proceeds of the National
Gallery of Victoria Annual Dinner, 2007

Scholarly Publications and Papers
by National Gallery Of Victoria Staff
NGV, 2008.
hyperspectral image analysis of elemental
110 111
DR ALEX BAKER
DR ISOBEL CROMBIE
AMANDA DUNSMORE
SOPHIE MATTHIESSON
and micro-Raman maps of cross-sections
• ‘It’s All About You: Generosity in the art of
Harrell Fletcher’ (Joseph Burke Lecture),
Melbourne Art Journal, University of
Melbourne, 2008.
LAURIE BENSON
• (contributor) Art Deco 1910–1939,
NGV, 2008.
ALISA BUNBURY
• ‘Kiki Smith’, Art Bulletin of Victoria: 47,
NGV, 2007.
• (contributor) Ted Gott et. al, Modern Britain
1900–1960: Masterworks from Australian
and New Zealand Collections, NGV, 2007.
• (contributor) Wayne Tunnicliffe and Jason
Smith (eds.), An Incomplete World: Works
from the UBS Art Collection, Art Gallery of
NSW / NGV, 2007.
• ‘ Art is for the Spirit: works from The UBS Art
Collection, Mori Art Museum, Tokyo, 2008.
• (contributor) Tuner to Monet: The Triumph
of Landscape Painting, National Gallery of
Australia, 2008.
• (contributor) Art Deco 1910–1939,
NGV, 2008.
HUMPHREY CLEGG
• (contributor) Art Deco 1910–1939,
NGV, 2008.
• ‘Wolfgang Sievers: A great Australian
modernist photographer’, Flash, Centre for
Contemporary Photography, August 2007.
• ‘Reveries’, Australian Book Review, no. 296,
November 2007.
• ‘Body Language’ in Art World, issue 1,
January 2008.
• ‘The Painted Photograph in Tasmania’, Art in
Australia, 2008.
• Body Language: Contemporary Chinese
photography, NGV, 2008.
• ‘The Uphill Road: Cezanne’, in C. Dixon (ed.),
Turner to Monet: The Triumph of Landscape,
National Gallery of Australia, 2008.
• ‘The Razzle Dazzle’ in N. Bullock (ed.),
Harold Cazneaux, Art Gallery of New South
Wales, 2008.
• (contributor) Art Deco 1910–1939,
NGV 2008.
Papers:
• Monash Gallery of Art, ‘Opening of ‘Lee
Miller’s War’ exhibition’, 2007.
• Krishna: Love and Devotion, ‘Great Beings:
Great spiritual lovers’, 2007.
• Public lecture, ‘Typecast: photography and
eugenics’, 2008.
• Body Language Symposium, ‘Body
language: contemporary Chinese
photography’, 2008.
PAOLA DI TROCCHIO
• (contributor) Art Deco 1910–1939,
NGV, 2008.
• (with Roger Leong, Laura Jocic, and
Danielle Whitfield) Black in Fashion:
Mourning to Night, NGV, 2008.
• ‘Art and Design’, in Ted Gott et. al, Modern
Britain 1900–1960: Masterworks from
Australian and New Zealand Collections,
NGV, 2007.
• ‘Eric Ravilious’, in Ted Gott et. al, Modern
Britain 1900–1960: Masterworks from
Australian and New Zealand Collections,
NGV, 2007.
• ‘Carlo Bugatti’s Throne ‘, Art Bulletin of
Victoria: 47, NGV, 2008.
• ‘Michael Powolny’s Bluebell putto’, World of
Antiques and Art, 72 nd ed, 2007.
• ‘Great Exhibitions: The World Fairs
1951-1937’, World of Antiques and Art, 73 nd
ed, 2008.
• ‘François Pompon’s Polar bear (Ours blanc)’,
World of Antiques and Art, 74 nd ed, 2008.
• (contributor) Art Deco 1910–1939,
NGV, 2008.
Papers:
• NGV Women’s Association Annual Lecture,
‘Aristocratic Splendour: the development
of style in the 18th century English country
house’ 2008.
MAGGIE FINCH
• ‘Elaine Campaner: Model Society’, Photofile,
vol. 82, Summer 2008.
• ‘Loretta Lux’s The Drummer’, Art Bulletin of
Victoria: 47, NGV, 2007.
• (contributor) Art Deco 1910–1939,
NGV, 2008.
DR EDWARD GOTT
• Modern Britain 1900–1960. Masterworks
from Australian and New Zealand
Collections, NGV, 2007.
• ‘An Iron Maiden for Melbourne — the
History and Context of Emmanuel Frémiet’s
1906 Cast of Jeanne d’Arc’, The La Trobe
Journal, No. 81, Autumn 2008.
• (contributor) Art Deco 1910–1939,
NGV, 2008.
Papers:
nd
• Crossing Cultures: 32 Congress of the
International Congress of the History
of Art (CIHA), ‘Military Objectives —
Reconstructing the Life and Art of Louis
Duffy’, 2008.
KIRSTY GRANT
• (contributor) Art Deco 1910–1939,
NGV, 2008.
ALISON HOLLAND
• (contributor) Art Deco 1910–1939,
DAVID HURLSTON
• (contributor) Art Deco 1910–1939,
NGV, 2008.
LAURA JOCIC
• (with Roger Leong, Paola Di Trocchio,
and Danielle Whitfield) Black in Fashion:
Mourning to Night, NGV, 2008.
• (contributor) Art Deco 1910–1939,
Paper:
NGV, 2008.
• Margins, Seventh Annual Symposium
The New Zealand Costume and Textiles
Section of the Auckland Museum Institute,
‘Contested boundaries: Collecting
nineteenth century Australian-made
garments at the National Gallery of
Victoria’, 2008.
TRACEY JUDD IVA
• (contributor) Art Deco 1910–1939,
NGV, 2008.
PETRA KAYSER
• (contributor) Art Deco 1910–1939,
NGV, 2008.
TERENCE LANE
• (contributor) Art Deco 1910–1939,
NGV, 2008.
CATHY LEAHY
• (contributor) Art Deco 1910–1939,
NGV, 2008
ROGER LEONG
• (with Paola Di Trocchio) Super Bodies:
Heroic Fashions from the 1980s, NGV, 2007.
• Book review for A Big Life: Jenny Kee (2006),
Object Magazine, issue 55,
August-November 2007.
• (with Paola Di Trocchio, Laura Jocic,
and Danielle Whitfield) Black in Fashion:
Mourning to Night, NGV, 2008.
• (contributor) Art Deco 1910–1939,
NGV, 2008.
• FRANCES LINDSAY
• ‘Sidney Nolan: the end of St Kilda Pier’, in
Barry Pearce, Sidney Nolan, Art Gallery of
NSW, 2007.
• ‘We mean business: John Stringer
(1937-2007)’, Art Monthly Australia, issue
207, March 2008.
• ‘(contributor) Art Deco 1910–1939,
NGV, 2008.
MATTHEW MARTIN
• ‘(contributor) Art Deco 1910–1939,
NGV, 2008.
• (contributor) Art Deco 1910–1939,
NGV, 2008.
DR MAE ANNA PANG
• Moon in reflection, The art of Kim Hoa Tram,
NGV, 2008.
• ‘An Orthodox Master and an Individualist,
Wang Yuanqi (1642-1715) and Daoji
(1642-1707)’, Art Bulletin of Victoria: 47,
NGV, 2007.
• (contributor) Art Deco 1910–1939,
NGV, 2008.
Papers:
• Art Gallery of NSW, ‘Poetic Inspiration in
Chinese Painting’, 2008.
• Queensland Art Gallery, ‘Mountains and
Streams, Chinese paintings in the National
Gallery of Victoria Collection’, 2008.
JUDITH RYAN
• ‘George Tjungurrayi’, Art & Australia, Vol. 44
No. 4, Winter 2007.
• ‘Jean Baptiste Apuatimi’ in Brenda l.
Croft (ed.), Culture Warriors: National
Indigenous Art Triennial, National Gallery of
Australia, 2007.
• ‘Politics, Truth and Blood, Indigenous art
matters’ in Power & Beauty, Heide Museum
of Modern Art, 2007.
• ‘Shock of the ancient made new’ in Beyond
Sacred: Recent painting from Australia’s
remote Aboriginal communities: the
collection of Colin and Elizabeth Laverty,
Hardie Grant Books, 2008.
Papers:
• Australian Decorative & Fine Arts Society,
‘The Raw and the Cooked: The Aesthetic
Principle in Aboriginal Art’, 2008.
• Art is Political symposium, ‘Art is metaphor
not slogan’, 2008.
LISA SASSELLA
Paper:
• Melbourne Business School,
‘National Gallery of Victoria:
Rethinking a Brand’, 2008.
CARL VILLIS
• ‘Materiali, tecnica e procedimento esecutivo
nell’opera del giovane Bernardo Bellotto’,
in Canaletto e Bellotto: L’Arte della Veduta,
Palazzo Bricherasio, Turin, 2008
• (with Deborah Lau, Scott Furman and
Michelle Livett): ‘Multispectral and
from a 16th Century painting’, in Analytica
Chimica Acta 610, 2008.
DANIELLE WHITFIELD
• (with Roger Leong, Paola Di Trocchio, and
Laura Jocic) Black in Fashion: Mourning to
Night, NGV, 2008.
• ‘K-50 and ‘rock of eye’ – A short history
of tailoring’ in How You Make it, Craft
Victoria, 2008.
• (contributor) Art Deco 1910–1939,
NGV, 2008.
• ‘Material By Product’, Art Bulletin of Victoria:
48, NGV 2008
Papers:
• Margins, Seventh Annual Symposium
The New Zealand Costume and Textiles
Section of the Auckland Museum
Institute, ‘On the margins of melancholy:
Fashionable mourning in the Victorian era
(1837-1901),’ 2008.
SUSAN VAN WYK
• 291: Photographers in the circle of Alfred
Stieglitz, NGV, 2008.
• (contributor) Art Deco 1910–1939,
NGV, 2008.
Papers:
• Global Photographies: Histories, Theories,
Practices; Institute of Art, Design
and Technology, ‘Departure Lounge:
Photographs by Max Pam and Matthew
Sleeth’, 2007.
• Fotofreo Conference, ‘Glad All Over:
Photographs by Rennie Ellis’, 2008.

Disclosure Index
The Annual Report of the Council of Trustees National Gallery of Victoria is prepared in accordance with all relevant Victorian legislation.
This index has been prepared to facilitate identification of the NGV’s compliance with statutory disclosure requirements.
112
Requirement Legislation Page Ref
MINISTERIAL DIRECTIONS: REPORT OF OPERATIONS
Charter and purpose
Manner of establishment and the relevant Ministers FRD 22 35
Objectives, functions, powers and duties FRD 22 35
Nature and range of services provided FRD 22 4
Management and structure
Organisational structure FRD 22 56–7
Financial and Other Information
Workforce data / application of employment and conduct principles FRD 22 93
Summary of the financial results of the year FRD 22 62–3
Significant changes in financial position during the year FRD 22 62–3
Operational and budgetary objectives and performance against objectives FRD 22 62–3
Major changes or factors affecting performance FRD 22 62–3
Subsequent events FRD 22 91
Application and operation of Freedom of Information Act 1982 FRD 22 96
Compliance with building and maintenance provisions of Building Act 1993 FRD 22 96
Statement on National Competition Policy FRD 22 97
Application and operation of the Whistleblowers Protection Act 2001 FRD 22 96–7
Details of consultancies over $100,000 FRD 22 97
Details of consultancies under $100,000 FRD 22 97
Disclosure of major contracts FRD 12 97
Statement of availability of other information FRD 22 98
Occupational health and safety FRD 22 96
Disclosure index FRD 10
Victorian Industry Participation Policy disclosures FRD 25 97
Environmental Performance FRD 24B 96
Attestation on Compliance with Risk Management Standard SD 4.5.5
Financial statements required under Part 7 of the Financial Management Act 1994
FRD 24B
Compliance with Australian accounting standards and other authoritative pronouncements SD 4.2 (c) 68, 72, 83
Compliance with Ministerial Directions SD 4.2 (c) –
Rounding of amounts SD 4.2 (d) 75
Accountable officer’s declaration SD 4.2 (c) 68
Statement of financial performance SD 4.2 (b) 69
Statement of financial position SD 4.2 (b) 70
Statement of cash flows during the year SD 4.2 (b) 59 71
Other disclosures in notes to the financial statements
Disclosure of ex-gratia payments FRD 11 –
Disclosure of parliamentary appropriations FRD 13 75
Responsible person and executive officer disclosures FRD 21 89
Superannuation liabilities and disclosure FRD 23 89
Legislation
Page Ref
Freedom of Information Act 1982 96
Building Act 1983 96
Whistleblowers Protection Act 2001 97
Victorian Industry Participation Policy Act 2003 97
Information Privacy Act 2000 96
Multicultural Victoria Act 2004 94